CATALOGUE   OF 

THE  MORGAN  COLLECTION 
OF  CHINESE  PORCELAINS 


I'lifornia 

ional 

lity 


V 


CATALOGUE  OF 
THE  MORGAN  COLLECTION 
OF    CHINESE    PORCELAINS 


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CATALOGUE   OF 

THE  MORGAN  COLLECTION 
OF  CHINESE  PORCELAINS 

BY 

STEPHEN  W.  BUSHELL 

AND 

WILLIAM  M.  LAFFAN 


NEW  YORK 

THE  METROPOLITAN  MUSEUM  OF  ART 

M  C  M  I  X 


Of  the  second  edition  without  illustrations  of  the 
Catalogue  of  the  Morgan  Collection  of  Chinese  Por- 
celains, 500  copies  have  been  printed,  March,  1909 


COPYRIGHT,  1904. 

BY   ROBERT  GRIER   COOKE 

COPYRIGHT,    1907, 
BY   THE   METROPOLITAN   MUSEUM   OF    ART 


Aff 


1o1 


PREFACE  TO  THIS  EDITION 

THIS  work  has  been  made  available  to  visitors 
by  the  aid  of  Dr.  Stephen  W.  Bushell,C.M.G., 
the  eminent  Oriental  scholar  and  sinologue, 
who  has  revised  (1906)  the  original  catalogue  of 
Mr.  Morgan's  collection,  privately  printed  in  a  limited 
edition.  Dr.  Bushell  has  also  written  an  introductory 
article  on  the  general  subject  of  Chinese  porcelain  and 
its  history,  similar  to  his  Chinese  Art,  in  the  South 
Kensington  Museum  series,  and  it  will  be  found  to  con- 
tain a  short  and  authoritative  account  of  the  industry 
from  the  earliest  times  to  the  present  day. 

The  purpose  of  the  present  catalogue  is  to  afford  to 
those  interested  in  the  subject  of  Chinese  porcelain 
an  opportunity  to  study  the  objects  exhibited  in  the 
Morgan  Collection  in  the  light  of  the  latest  knowledge 
that  is  to  be  had  on  the  subject.  The  collection  is 
the  most  comprehensive  that  is  known,  and  it  has  been 
described  as  succinctly  and  lucidly  as  appeared  pos- 
sible, and  without  any  technicalities  that  could  be 
avoided. 

W.  M.  L. 
February  i,  1907. 


1286968 


PREFACE  TO  THE  FIRST  EDITION 

ACCORDING  to  the  Chinese  the  art  of  making 
porcelain  was  known  to  them  in  the  seventh 
century  of  our  era.  Chinese  literature  ascribes 
the  invention  to  a  much  earlier  period — some 
twenty-five  centuries  before  Christ.  If,  however,  we 
accept  the  modern  definition  of  porcelain,  namely,  that 
it  is  white,  hard,  translucent  body,  vitrified  throughout, 
it  is  not  at  all  certain  that  the  art  existed  until  much 
later  than  the  seventh  century.  Chinese  writers  ap- 
pear to  describe  true  porcelain,  but  we  cannot  be  sure 
of  their  meaning.  We  are  only  certain  of  it  when,  in 
addition  to  the  writing,  we  have  an  actual  example  of 
the  thing  written  about.  Certain  it  is  that  no  trace 
of  this  early  porcelain  remains.  We  have  Chinese  pot- 
tery of  great  antiquity,  and  now,  at  the  beginning 
of  the  twentieth  century,  China  is  beginning  to  yield 
it  with  comparative  freedom,  the  reasons  doubtless 
due  to  the  intrusion  of  Western  ideas  and  the  break- 
ing down  of  the  prejudices  of  many  centuries.  This  pot- 
tery is  all  said  to  come  from  graves  or  burial  grounds, 
which  its  character  fully  indicates.  It  has  much  in 
common  with  the  ancient  pottery  of  Western  nations, 
and,  on  a  superficial  inspection,  it  would  be  difficult 
to  separate  certain  vases  of  the  earlier  dynasties  from 
like  pieces  of  Babylonian  or  Egyptian  origin. 

If,   however,   we  demand  examples,   or  fragments 

vii 


PREFACE 

even,  of  the  true  porcelain  so  eloquently  described 
by  early  Chinese  writers  as  essential  to  our  accept- 
ance of  its  existence  at  the  period  to  which  they  as- 
cribe it,  we  shall  not  be  gratified.  Chinamen  vene- 
rate antiquity  more  than  they  do  anything  else;  they 
have  always  exaggerated  its  virtues  and  inculcated 
its  importance,  and  have  never  been  averse  to  culti- 
vating the  fictitious  side  of  it,  either  in  literature  or 
in  art.  We  do  not  know  yet,  by  the  possession  of  the 
actual  objects,  identified  and  proved,  when  true  por- 
celain was  produced.  It  is  doubtful  if  it  preceded  the 
dynasty  of  the  Mings,  and  it  is  more  than  probable 
that  the  porcelain  attributed  to  earlier  periods  was 
stoneware  or  celadon.  That  it  was  kaolinic,  and 
dense  and  vitrified  throughout,  may  be  believed;  but 
that  it  was  true  porcelain  we  have  no  trustworthy 
evidence.  The  tendency  of  all  periods  in  China  that 
we  are  able  to  review  has  been  to  exaggerate  antiquity 
or  counterfeit  it.  When  the  trade  in  porcelain  with 
Western  nations  opened  in  the  sixteenth  century,  it 
was  in  great  part  founded  upon  wares  of  a  fictitious 
antiquity. 

The  greater  part  of  the  porcelain  imported  into 
European  countries  in  the  sixteenth  and  seventeenth 
centuries  was  supposed  to  be  antique  porcelain.  The 
Chinese  assumed  that  the  European  customer  would 
value  the  commodity  for  the  same  qualities  that  made 
it  esteemed  in  China,  and  it  was  accordingly  dated 
back  a  century  or  so.  Those  who  then  took  account 
of  the  date-marks  appear  to  have  accepted  them  in 
good  faith,  and  they  remained  undisputed  until  to- 
ward the  end  of  the  nineteenth  century.  Perhaps 
the  most  familiar  date-mark  upon  the  Chinese  por- 
celain so  widely  distributed  in  all  European  countries 
in  the  seventeenth  and  eighteenth  centuries  was  that 
of  the  reign  of  Ch'eng-hua,  1465- 1487.  Thousands 
upon  thousands  of  pieces  of  it  survive,  but  we  have 


PREFACE 

never  seen  a  piece  of  porcelain  bearing  the  Ch'eng-hua 
marl<  which  was  made  in  the  reign  of  that  monarch. 
We  have  never  seen  a  piece  bearing  it  that  was  older 
than  the  beginning  of  the  reign  of  K'ang-hsi,  1 662-1 722; 
but  we  have  seen  a  vast  number  that  were  even  more 
modern. 

Modern  research  and  study  have  dispelled  many  of 
the  illusions  and  trade  traditions  that  obscured  the 
whole  history  of  Chinese  porcelains.  In  fact,  at  the 
end  of  the  nineteenth  century  it  has  been  found  neces- 
sary to  adopt  an  entirely  different  classification.  In 
all  the  European  collections  where  there  has  been  any 
systematic  attempt  at  classification,  the  most  im- 
portant of  the  decorated  porcelains  and  the  best  of  the 
monochromes  were  ascribed  to  the  dynasty  of  the 
Mings, — that  is  to  say,  they  must  have  been  made  in 
or  prior  to  the  reign  of  Wan-li,  the  Ming  emperor, 
with  whom  the  industry  perished  in  the  Tartar  in- 
vasion. All  the  important  blue  and  white  pieces  were 
parcelled  out  as  far  back  as  the  emperor  Yung-lo, 
1403-1424,  with  a  distinct  partiality  for  Ch'eng-hua, 
1 465- 1 487,  and  a  leaning  toward  Hsiiante,  1426- 143  5. 
The  fine  rare  reds,  the  sang  de  baeufs,  were  all  Ming 
pieces,  and  by  a  curious  fatuity  were  called  Lang-yao; 
a  family  of  potters  named  Lang  being  created  spon- 
taneously for  them.  These  last  were  really  K'ang-hsi 
porcelains,  1662- 1722,  and  were  Lang  pieces  in  good 
faith,  having  been  produced  at  King-te-chen  under 
the  prefecture  of  the  great  Lang,  who  gave  so  wonder- 
ful an  impetus  to  the  art  under  the  protection  of  the 
peaceful  Tartar  monarch.  The  black  pieces,  the  so- 
called  hawthorns,  with  varied  decorations  supported 
on  a  black  ground,  were  all  relegated  to  the  dynasty 
of  the  Mings,  and  it  is  only  at  the  beginning  of  the  twen- 
tieth century  that  we  are  able  definitely  to  dispel 
all  these  errors,  and  straighten  out  in  some  degree  the 
sadly  involved  chronology  of  Chinese  porcelain. 

ix 


PREFACE 

In  respect  to  all  Chinese  porcelain,  it  may  be  safely 
said"  that  when  it  has  been  studied  for  some  time  it 
will  be  found  to  look  its  age.  We  think  that  age  has 
already  done  something  for  the  pieces  of  the  seventeenth 
century.  Perhaps  it  has  done  very  little,  but  we  in- 
cline to  the  belief  that  some  change  has  been  wrought 
since  they  left  the  kiln  two  hundred  years  or  more 
ago.  So,  too,  with  the  Ming  porcelains.  The  beauti- 
ful blue  and  white  of  Chia-ching,  1 522-1 566,  and  the 
succeeding  reigns,  the  true  Mussulman  blue  of  tra- 
dition, looks  older  than  the  like  product  of  K'ang-hsi. 
All  the  five-colored  porcelain  of  the  Ming  dynasty 
looks  its  age,  and  all  the  true  Ming  pieces,  of  whatso- 
ever description,  betray  their  period  to  the  initiated 
eye.  The  counterfeits  of  the  reign  of  the  great  Tartar, 
K'ang-hsi,  were  wonderfully  clever,  but  they  do  not 
look  the  age  ascribed  to  them.  Marvellous,  too,  are 
the  counterfeits  of  our  own  time,  the  appalling  industry 
in  China  evoked  by  the  high  prices,  the  irresistible 
rewards  offered  in  Western  markets  for  the  ceramic 
treasures  of  the  Orient.  The  Chinese  have  always 
been  counterfeiters;  their  literature,  in  respect  to 
porcelain,  is  a  continuous  record  of  imitation,  and  the 
art  is  revived  in  this  our  own  day  with  astonishing  force 
and  effect,  and  in  a  fashion  to  deceive  woefully.  Japan 
too  has  embarked  in  this  field,  and  is  manufacturing 
antiquities  as  fast  as  the  markets  of  the  world  will  ab- 
sorb them,  not  only  her  own  antiquities  but  those  of 
China  and  Corea.  It  is  no  new  industry,  the  counter- 
feiting of  works  of  art;  it  is  as  old  as  the  history  of  art 
itself. 

The  Chinese  writers  described  the  potters'  work  of 
their  own  times  with  great  particularity  and  no  little 
enthusiasm.  It  was  as  thin  as  paper,  as  translucent 
and  sonorous  as  vessels  of  jade,  and,  in  respect  of  color, 
it  appeared  to  have  all  the  characteristics  of  the  por- 
celain with  which  we  are  familiar.    None  of  it,  how- 


PREFACE 

ever,  remains  at  this  time  to  confirm  and  illustrate  its 
literature.  That  some  such  objects  were  produced 
there  is  little  doubt,  and  it  would  seem  safe  to  assume 
that  it  has  vanished  from  existence  because  of  its 
very  fragility  and  delicacy.  A  quarter  of  a  century 
ago  there  were  known  to  English  lovers  of  porcelain 
certain  pieces  bearing  the  mark  of  Yung-Io,  1403- 1424. 
There  were,  perhaps,  in  all,  two  or  three  blue  and  white 
cups,  with  coral-red  exteriors  decorated  with  gold 
and  one  or  two  egg-shell  bowls  of  white  translucent 
porcelain  of  great  delicacy.  These  last  were  very 
remarkable  pieces.  In  the  body,  and  visible  only  in 
the  strongest  light,  were  beautifully  drawn  dragons 
and  Buddhistic  emblems,  and  in  the  disk  which  formed 
the  bottom  of  the  bowl  could  be  faintly  traced  the  in- 
scription, Yung-lo  nien  chih,  in  old  k'uan  characters. 
No  porcelain  that  ever  was  made  could  surpass  them 
in  delicacy  or  in  beauty,  and  they  seemed  to  realize 
to  the  utmost  the  inspiration  of  the  long-departed 
Chinese  historians.  How  things  of  such  exceeding 
fragility  should  have  survived  the  vicissitudes  of  cen- 
turies, and  succeeded  in  transmitting  themselves  un- 
scathed when  the  work  of  more  recent  ages  had  not 
left  a  trace  of  itself  seemed  difficult  of  explanation. 
The  blue  and  white  bowls  with  the  coral  exteriors 
were  more  convincing,  and  when  one  made  its  appear- 
ance in  a  goldsmith's  mount  of  the  time  of  Elizabeth, 
it  seemed  impossible  to  withstand  their  antiquity. 

Toward  the  end  of  the  century,  however,  objects 
of  the  same  kind  became  more  frequent,  especially 
the  white  egg-shell  bowls  with  the  perplexing  archaic 
marks,  of  which  quite  a  number  found  their  way  into 
collectors'  hands.  They  are  not  yet  explained,  at 
least  not  to  everybody's  satisfaction. 

There  was  a  potter  in  Japan,  who  came  of  a  long  line 
of  potters,  and  whose  name  was  Zengoro-Riosen.  He 
was  born  in  the  latter  part  of  the  eighteenth  century, 

xi 


PREFACE 

and  he  died  full  of  years  and  ceramic  honors  at  the  end 
of  the  first  half  of  the  nineteenth  century.  He  is 
handed  down  to  posterity  as  a  potter  of  the  greatest  dis- 
tinction, and  one  who,  in  his  time,  was  celebrated  far 
and  wide  for  the  skill  with  which  he  imitated  the  pottery 
of  others,  it  is  told  that  the  Prince  of  Arita  was  so 
pleased  with  his  reproduction  of  a  Chinese  vase  of  the 
reign  of  the  Emperor  Yung-lo,  that  he  forthwith  named 
him  Yung-lo,  and  presented  him  with  a  seal  bearing 
those  characters,  with  authority  to  aifix  it  thereafter  to 
his  pieces.  Thus  it  came  about  that  Zengoro-Riosen 
was  thenceforward  known  as  Yeiraku,  the  Chinese 
characters  Yung-lo  being  pronounced  in  Japanese, 
Yeiraku.  The  white  bowl  in  the  collection,  No.  6,  case 
F,  is  one  of  these  celebrated  objects,  and  bears  in  old 
k'uan  characters,  the  mark  Yung-lo  nien  chih. 

These  pieces,  and  they  are  relatively  few  in  number, 
present  the  one  point  of  possible  or  imagined  contact 
with  the  earlier  porcelain  of  Chinese  literature.  The 
more  robust  porcelains  of  the  Ming  dynasty  identify 
themselves  readily,  and  a  number  of  examples  are 
found  in  the  collection.  It  will  always  be  apparent 
that  pieces  of  Ming  porcelain  in  some  sort  look  their 
age.  At  any  rate,  they  look  older  in  essential  par- 
ticulars than  the  porcelains  which  merely  bear  Ming 
marks,  or  which  for  other  reasons  have  always  been 
erroneously  ascribed  to  a  much  greater  antiquity  than 
they  could  rightly  claim.  In  this  category  were  the 
black  hawthorns,  the  green  hawthorns,  the  greater 
part  of  all  the  earlier  blue  and  white  collections  of 
Europe,  all  the  copper-reds,  including  the  sang-de- 
bceufs,  and  practically  all  the  decorated  porcelain  not 
bearing  the  marks  of  the  present  dynasty.  Even  these 
last  were  long  indeterminate,  because  prior  to  the  mid- 
dle of  the  nineteenth  century  the  marks  upon  porce- 
lain had  not  been  elucidated  for  general  use. 

The  so-called  "hawthorn"  porcelains    are   divided 


PREFACE 

into  three  groups,  according  to  color:  blue,  black, 
and  green.  Red  hawthorn  is  also  known,  but  only 
by  a  single  example — the  superb  vase.  No.  2,  case  I. 
There  is  no  hawthorn  involved  in  any  of  them,  the 
flower  from  which  the  term  is  derived  being  the  blossom 
of  the  wild  plum  or  w^z-flower,  and  even  it  does  not 
always  appear  in  the  pieces  which  custom  has  recog- 
nized as  hawthorn.  The  blue  hawthorns  are  the  best 
known,  and  in  the  collection  there  are  three  unsur- 
passed examples,  of  which  one,  No.  6,  case  B,  known 
as  the  Blenheim,  is  as  well  known  as  it  is  beautiful. 
These  blue  vases  were  originally  known  as  ginger- 
jars,  and  were  used  for  the  exportation  of  preserved 
ginger,  in  which  capacity  they  were  woven  about  with 
a  protective  netting  or  matting  of  stout  fibre.  They 
were  highly  esteemed  by  the  Dutch  apothecaries, 
who  lined  the  shelves  of  their  shops  with  them,  and 
later  had  them  imitated  at  Delft,  with  labels  to  indi- 
cate the  drugs  they  were  to  contain.  As  with  all  por- 
celain objects  devoted  to  daily  or  domestic  use,  their 
destruction  was  rapid,  and  the  existence  of  survivors 
is  explained  only  by  the  fact  that  when  their  beauty 
was  reinforced  by  their  rarity,  they  were  withdrawn 
from  service  and  properly  cared  for. 

The  black  and  green  hawthorn  pieces  did  not  appear 
in  Europe  until  much  later.  Indeed,  it  is  doubtful 
if  any  specimens  were  known  outside  China  before  the 
latter  half  of  the  nineteenth  century.  They  never 
came  within  the  classification  of  commercial  porcelain, 
as  did  all  the  vast  quantity  of  blue  and  white  which 
found  its  way  to  Holland,  but  were  essentially  the  pos- 
sessions of  the  wealthy  or  ruling  classes,  the  vases  of 
magistrates,  or  kouan-khi,  as  they  were  designated 
in  China.  All  of  the  finer  examples  of  these  black  and 
green  hawthorns  command  very  high  and  even  extra- 
ordinary prices;  but  there  is  good  reason  to  believe 
that  they  were  just  as  dear  and  quite  as  highly  prized 

xiii 


PREFACE 

at  the  time  when  they  were  produced.  In  fact,  all 
the  evidence  goes  to  show  that  the  prices  of  such  pieces 
in  China  two  hundred  years  ago  were  relatively  much 
higher  than  those  of  the  present  day. 

In  the  black  hawthorns,  the  ground  against  which  the 
decoration  appears  is  black;  in  the  so-called  green 
hawthorns  it  is  green.  In  the  former  the  ground  is 
applied  after  the  decoration  is  completed,  and  is  of  a 
different  firing.  In  the  green  pieces,  the  ground  and 
the  decoration  are  established  at  the  same  time.  Some- 
times the  black  ground  is  found  to  be  superposed  on  a 
green  ground,  the  latter  probably  having  been  found 
inadequate  in  effect.  The  large  vase.  No.  4,  case  D, 
would  appear  to  have  been  destined  for  a  black  haw- 
thorn, but  to  have  been  allowed  to  present  its  brilliant 
enamels  without  the  support  of  any  other  ground 
than  the  fine  white  porcelain  itself.  In  all  the  vases 
of  this  class  the  porcelain  is  of  the  finest  quality. 

To  Dr.  Stephen  W.  Bushell,  who  was  attached  for  a 
quarter  of  a  century  to  the  British  Legation  at  Peking 
belongs  the  chief  credit  of  clearing  up  the  whole  subject 
of  Chinese  porcelain.  He  was  the  first  to  write  of  it 
with  authority,  to  present  its  history  intelligibly,  and 
to  enforce  his  learning  by  a  broad  and  comprehensive 
classification  and  identification  of  the  porcelain  itself. 
Whatever  had  been  published  before  Dr.  Bushell  made 
himself  known  was  chaotic,  misleading  and  contra- 
dictory. His  history  of  Chinese  porcelain  was  under- 
taken at  the  behest  of  the  late  William  T.  Walters,  of 
Baltimore,  in  connection  with  a  catalogue  raisonne  of 
the  Walters  collection  which  he  prepared;  and  while 
it  attained  no  wide  publicity,  on  account  of  its  great 
size  and  cost,  it  reached  the  serious  students  and  earnest 
collectors.  Since  its  publication,  in  1899,  there  has 
been  a  readjustment  of  the  whole  subject  on  the  part 
of  all  intelligent  persons  who  are  in  any  way  concerned 

xiv 


PREFACE 

with  it,  and  whatever  of  value  has  since  been  written 
has  been  founded  upon  what  Dr.  Bushell  set  forth 
in  his  exhaustive  work.  Much  may  yet  be  done  to 
elucidate  special  features  of  Chinese  ceramics,  but 
the  great  and  indispensable  achievement  is  Dr.  Bushell's 
and  that  which  remains  to  do  is  relatively  unimportant. 

What  he  accomplished  was  to  move  the  great  mass  of 
porcelain  from  one  Chinese  dynasty  to  another,  from 
the  Mings  to  the  Ch'ings,  and  to  dispel  many  and  dis- 
tracting illusions  which  had  grown  up  about  it.  One 
of  the  most  important  collections  in  existence  was 
classified  and  generally  accepted  as  containing  nothing 
but  Ming  pieces.  A  year  or  two  after  Dr.  Bushell's 
work  appeared  it  was  conceded  that  it  contained  only 
one  Ming  example,  and  that  all  the  rest  were  of  the  en- 
suing or  Ch'ing  dynasty.  This  is  a  very  good  example 
of  the  revolution  wrought  by  Dr.  Bushell's  simple  and 
wholly  unpretentious  exposition  of  the  actual  bearing 
of  Chinese  literature  and  learning  upon  the  subject 
itself  when  rightly  expounded. 

A  great  deal  has  been  heard  among  collectors  of  the 
so-called  "soft  paste"  porcelains,  and  for  a  long  time  a 
special  value  seemed  to  attach  to  them  as  if  they  were 
something  quite  apart  from  and  more  desirable  than 
"hard  paste"  examples.  This  naturally  was  a  reflec- 
tion of  the  distinction  between  "soft  paste,"  or  pate 
tendre,  and  hard  or  true  porcelain  as  recognized  in 
European  porcelains.  There  is  no  such  thing  as  soft 
paste  Chinese  porcelain  in  the  European  sense  of  the 
term;  and  yet  an  immense  amount  of  porcelain  found 
its  way  as  such  into  the  hands  of  people  who  were  in- 
duced to  pay  more  for  it  on  that  account.  For  the 
most  part  it  is  inferior,  and  does  not  belong  to  the  best 
period,  but  must  be  ascribed  to  that  of  the  decadence 
of  the  art,  when  new  and  labored  characteristics  were 
imparted  to  it,  to  its  detriment.  The  pdie  tendre  of 
the  European  porcelains  has  nothing  in  common  with 

XV 


PREFACE 

the  illusory  "soft  paste"  of  the  dealers.  The  semi- 
egg-shell  examples  of  it  in  blue  and  white,  which  for  a 
time  were  more  or  less  of  a  rage  with  collectors,  were 
really  well-advanced  examples  of  the  downward  ten- 
dency of  the  art  in  the  middle  of  the  reign  of  Ch'ien- 
lung. 

When  Chinese  porcelain  first  became  known  in  Eu- 
rope it  aroused  universal  admiration  and  wonder. 
Western  nations  had  only  their  own  wares  to  com- 
pare it  with,  and  when  one  surveys  the  ceramic  field 
of  Europe,  even  as  late  as  the  year  1700,  it  is  possible 
to  form  some  idea  of  the  impression  it  produced.  The 
pottery  of  England,  of  Germany,  of  the  Lowlands, 
of  France,  and  even  the  beautiful  faiences  of  Italy, 
were  at  a  vast  disadvantage.  The  quality  of  the  Chi- 
nese paste,  its  purity  and  brilliancy,  its  density  and 
fineness,  and,  above  all,  the  beauty  of  its  enamel 
colors,  which  was  approached  only  by  that  of  precious 
stones — the  sapphire,  the  ruby,  the  emerald,  the  ame- 
thyst, the  turquoise,  and  the  topaz — were  a  revelation. 
Little  is  known  of  the  earliest  pieces  that  came  from 
China.  There  is  a  legend  that  Saladin  made  a  present 
of  forty  pieces  to  Nureddin,  Caliph  of  Syria,  circa  A.  d. 
1 188,  but  what  was  its  true  nature  has  not  been  told. 
Marco  Polo  is  said  to  have  brought  back  some  por- 
celain, in  1295,  to  Venice,  after  his  twenty  years'  so- 
journ with  the  great  Khan,  but  the  circumstances 
of  his  return  do  not  enhance  the  probability  that  por- 
celain formed  a  part  of  his  baggage.  Nothing,  how- 
ever, has  prevented  the  appearance  in  European  col- 
lections of  veritable  Chinese  porcelains  said  to  have 
come  from  Venice  and  attributed  to  the  great  travel- 
ler. They  were  hexagonal,  reticulated  pieces  of  vis- 
cous white,  and  Marco  Polo  would  have  had  to  defer 
his  return  from  Cathay  for  some  200  years  in  order 
to  bring  them  with  him. 

The  earliest  pieces  to  reach  Europe  were  probably 

xvi 


PREFACE 

celadon,*  which  obtained  a  wide  distribution  by  both 
sea  and  land,  as  the  learned  researches  of  Dr.  Frederick 
Hirth  have  shown.  The  earliest  piece  known  in  Eng- 
land was  celadon,  the  communion-cup  of  Archbishop 
Warham  (i  504-1 532),  and  it  is  to  be  seen  in  the  treasury 
of  New  College  at  Oxford.  It  is  in  an  English  silver- 
gilt  mount.  It  was  to  celadon  that  the  Persians  at- 
tributed the  marvellous  property  of  denoting,  by  chang- 
ing its  color,  the  presence  of  poison  in  the  food  that  was 
served  in  it.  It  did  not  possess  this  power,  but  its 
cost  was  great,  and  only  great  princes  could  enjoy  its 
possession,  and  it  was  perhaps  natural  to  attribute 
some  preternatural  quality  to  it  to  justify  a  value  so 
disproportionate  to  its  appearance.  Certain  it  is 
that  the  most  archaic  remains  of  true  Chinese  porce- 
lain that  are  known  are  celadon. 

Other  pieces  that  reached  Europe  before  importa- 
tion began  were  blue  and  white,  and  were  brought 
by  travellers  as  precious  curiosities,  or  were  presents 
acquired  by  ambassadors  or  other  distinguished  per- 
sons. They  were  commonly  deemed  worthy  of  a  mount 
in  the  best  art  of  the  jewellers  of  the  period,  both  for 
the  distinction  it  conferred  and  the  protection  it  af- 
forded. Some  of  the  most  noted  of  the  French  metal- 
workers of  the  eighteenth  century  bestowed  their  best 

*Not  a  little  progress  has  been  made  in  determining  the  ex- 
tent of  the  earlier  foreign  trade  of  China  in  continuation  of  Dr. 
Frederick  Hirth's  admirable  work.  Thus,  for  instance,  Chinese 
bronze  mirrors  of  the  Han  dynasty  have  turned  up  on  the  Nile, 
the  polished  side  engraved  with  votive  inscriptions  in  Arabic. 
One  of  these  is  in  the  possession  of  that  eminent  scholar,  Dr. 
Fouquet,  of  Cairo.  A  very  interesting  occurrence  was  noted  in 
Egypt  last  winter.  Permission  had  been  granted  to  some  sehhak 
diggers  to  demolish  and  remove  an  ancient  mosque.  The  struc- 
ture was  known  to  date  from  the  tenth  century.  In  the  stratum 
beneath  the  foundations  a  Chinese  celadon  bowl  of  a  perfectly 
familiar  character  was  discovered.  It  is,  we  oelieve,  in  the  col- 
lection of  Professor  Sayce,  of  Oxford,  who  was  spending  the  winter 
on  the  river,  according  to  his  custom  for  many  years. 

xvii 


PREFACE 

efforts  upon  the  adornment  of  Chinese  porcelain,  on 
pieces,  too,  which,  for  the  most  part,  were  not  what 
we  have  learned  to  regard  as  the  choicest. 

When  Chinese  porcelain  began  to  be  largely  imported 
it  so  filled  people's  minds  and  commanded  such  prices 
that  it  very  naturally  stimulated  an  intense  ambition 
to  produce  something  like  it.     For  a  long  time  this 
was  sought  in  vain,   the  essential  element  of  kaolin 
being  lacking;  but  potters  everywhere  were  embarked 
in  the  research  and  were  bound  to  succeed.     In  the 
meantime   the   Chinese   porcelain   was   producing   its 
inevitable    eiTect.     Chinese    shapes    were    appearing 
everywhere.     Chinese  colors  were  being  imitated,  and 
Chinese  ideas  and  motives  in  decoration  were  being 
adopted  on  all  sides.     In  Saxony,  Japanese  porcelain 
had  been  imported  together  with  the  Chinese,  from 
which  it  was  not  distinguished,  and  it  was  very  suc- 
cessfully  and   admirably   imitated   in   soft   paste,   by 
Bottger,  before  the  art  of  making  hard  paste  was  dis- 
covered.    These  imitations  of  Japanese  porcelain  were 
wonderful,  and  they  imparted  a  character  to  German 
porcelain  that  it  has  never  lost,  and  which,  moreover, 
affected  all  other  European  porcelain,  and  has,  equally 
ever  since,  continued  to  exert  its  influence.     This  was 
no  art  of  Bottger's,  for  his  art  was  mostly  that  of  a 
counterfeiter,  but  was  due  to  the  work  of  a  Japanese 
artist  named  Kakiyemon,  whose  white  porcelain,  dec- 
orated with  simple  isolated  designs,  whether  of  sprays 
of  flowers,  blossoms,  trees,  foliage,  or  animals,  com- 
pletely   enthralled    Bottger.     The    prevailing   feature 
of  Kakiyemon's  work  was  the  projection,  on  the  white 
field,  of  an  isolated  design,  and  his  color  scheme  was 
of  the   simplest  imaginable.    In  his  own  country   he 
had  introduced  his  personal  art  from  China,  where  he 
had   acquired  it,  and  it  was  as  potent  in  Japan   as 
elsewhere,   becoming  immortal  in   the  productions  of 
Imari.    In  Europe  its  effect  was   universal,  spreading 

xviii 


PREFACE 

from  Germany  to  France,  and  thence  into  England, 
and  completely  dominating  in  one  way  or  another  the 
whole  decoration  of  porcelain. 

With  the  discovery  of  hard  paste  and  the  subsequent 
ability  of  European  potters  to  supply  the  market,  the 
importations  from  China  fell  off.  It  was  a  great  trade 
while  it  lasted,  whole  fleets  arriving  under  convoy, 
laden  with  porcelain  alone,  and  the  appetite  for  it 
appeared  insatiable.  England  vied  with  Holland  in  the 
avidity  with  which  it  absorbed  it,  but  all  parts  of  Eu- 
rope were  eager  customers.  In  Holland,  however, 
the  rage  for  porcelain  was  like  that  which  at  one  time 
was  manifested  there  for  tulips;  and  as  late  as  the 
early  part  of  the  last  century  there  were  not  a  few 
Dutch  families  in  which  sets  of  seven-bordered,  egg- 
shell, and  rose-backed  plates  and  the  like  number  of 
cups  and  saucers  of  similar  character  were  in  daily 
domestic  use. 

W.  M.  L. 

April,  1904. 


HISTORICAL  INTRODUCTION 


HISTORICAL  INTRODUCTION 

I  HAVE  been  asked  to  write  a  short  introduction 
to  a  revised  catalogue  of  the  Morgan  Collection 
of  Chinese  Porcelain,  and  have  recently  been 
afforded  the  opportunity  of  examining  every 
piece  in  the  galleries  of  the  Metropolitan  Museum, 
before  attempting  the  flattering,  but  difficult,  task  of 
presenting  a  proem  worthy  of  the  occasion.  A  certain 
familiarity  with  the  finest  collections  in  Europe, 
notably  the  Salting  collection  in  the  Victoria  and 
Albert  Museum,  the  Franks  Collection  in  the  British 
Museum,  the  Grandidier  Collection  in  the  Louvre, 
and  the  old  treasures  of  Augustus  the  Strong  in  the 
Johanneum,  at  Dresden,  prompts  me  to  place  the  one 
before  us  in  the  first  rank  for  the  striking  beauty  of 
many  of  the  specimens,  and  for  their  peculiar  fitness 
and  readiness  for  a  serious  study  of  the  history  and 
development  of  the  ceramic  art  in  China. 

"The  study  of  any  branch  of  art*  supposes,"  as  Mr. 
Stanley  Lane-Poole  justly  observes,  m  his  handbook  on 
the  Art  of  the  Saracens  in  Egypt,  "some  acquaintance 

*The  following  sketch  is  taken,  in  the  main,  from  my  handbook 
on  Chinese  Art,  published  in  2  vols.,  1905-1906,  by  the  Board  of 
Education,  for  the  Victoria  and  Albert  Museum. 

xxiii 


HISTORICAL  INTRODUCTION 

with  the  history  of  the  people  among  whom  the  art  was 
practised."  This  axiom  applies  with  added  force  to 
China  and  to  Chinese  art,  and  particularly  to  the  art  of 
the  Chinese  potter,  who  invented  porcelain,  and  sub- 
sequently carried  its  decoration,  almost  unaided,  to 
such  a  high  pitch  of  perfection. 

The  native  story  of  the  evolution  of  Chinese  culture 
makes  it  nearly  as  old  as  the  civilizations  of  Egypt, 
Chaldaea,  and  Susiana.  These  empires  have,  long 
since,  culminated  and  disappeared  below  the  horizon, 
while  China  has  continued  to  exist,  to  work  out  its  own 
ideas  of  art  and  ethics,  and  to  elaborate  the  peculiar 
script  which  it  retains  to  the  present  time.  The  char- 
acters of  the  ancient  Chinese  script  would  appear  to 
have  originated  and  developed  in  the  valley  of  the 
Yellow  River,  and  no  connection  has  hitherto  been  sat- 
isfactorily traced  with  any  other  system  of  picture 
writing.  Chinese  history  is  carried  back  by  some  to  a 
mythical  period  of  fabulous  antiquity;  their  first  man, 
Pan  Ku,  emerging  from  chaos  as  the  embryo  of  an 
all-productive  cosmic  egg  or  atom.  He  is  followed  by 
a  mythical  series  of  celestial,  terrestrial,  and  human 
rulers,  some  of  the  last  of  which  were  called  Yu  Ch'ao 
(the  Nesters),  because  they  lived  in  trees  in  those  days, 
and  others  Sui  Jen  (the  Fire  Producers),  the  discoverers 
of  the  primitive  friction  hand-drill  of  wood. 

The  legendary,  as  distinct  from  the  purely  mythical, 
period  begins  with  Fu-hsi,  the  reputed  founder  of  the 
Chinese  polity.  He  is  figured  in  the  carved  stone  bas- 
reliefs  of  the  Han  dynasty,  which  date  from  about  the 
Christian  era,  and  are  an  invaluable  storehouse  of 
ancient  lore,*as  the  first  of  the  three  ancient  sover- 
eigns, known  as  San  Huang.  He  holds  a  mason's 
square,  and  is  accompanied  by  a  female  personage  wear- 
ing a  coronet,  and  holding  a  pair  of  compasses,  another 

♦See  La  Sculpture  sur  pierre  en  Chine  au  temps  des  deux  dynasties 
Han,  by  Prof.  E.  Chavannes,  Paris,  1893. 

xxiv 


HISTORICAL    INTRODUCTION 

emblem  of  the  masonic  craft.  This  last  is  Nil  Wa,  who 
is  variously  represented  as  either  the  consort,  or  sister 
of  Fu-hsi;  their  bodies  terminating  in  the  forms  of 
dragons  or  serpents,  are  intertwined  below,  and  so  are 
those  of  the  attendant  sprites  supported  by  rolled 
clouds  ending  in  birds'  heads.  Fu-hsi  first  traced  the 
eight  trigram  symbols  of  Chinese  divination,  and  he  also 
invented  knotted  cords — records  like  the  Peruvian 
quippus,  which  are  said  to  have  preceded  Chinese  hier- 
oglyphics. The  third  of  the  San-huang  was  Shen-nung, 
the  Divine  Husbandman,  who  first  fashioned  timber  into 
ploughs,  and  taught  his  people  the  art  of  husbandry. 
He  discovered  the  curative  value  of  herbs,  and  founded 
the  first  markets  for  the  exchange  of  commodities. 

The  IVu  Ti,  or  Five  Rulers,  who  succeeded  the  above, 
are  depicted  in  the  same  series  of  bas-reliefs.  They 
wear  the  long  official  robes  and  the  square-topped  hats  ■ 
hung  with  pendants  of  jade,  which  were  adopted  by  the 
first  of  their  number,  the  famous  Huang-ti,  a  promi- 
nent personage  at  the  dawn  of  Chinese  history.  He 
was  the  founder  of  the  first  hereditary  line,  whose  capital 
was  near  the  modern  Hsi-an  Fu,  in  the  province  of 
Shensi.  Many  of  the  industrial  arts,  including  that  of 
welding  clay,  are  traced  back  to  his  time,  and  his  prin- 
cipal consort,  Hsi-ling  Shih,  who  first  taught  the  people 
to  rear  silkworms,  is  still  worshipped  as  a  deity  on  that 
account.  The  Taoist  mystics  have  transformed  Huang- 
ti,  the  "  Yellow  Emperor,"  into  a  miraculous  being  who 
invented  alchemy,  and  was  the  first  to  gain  immortality. 
He  is  identified  by  Terrien  de  Lacouperie  with  Nak- 
hunte,  and  made  the  leader  of  his  so-called  Bak  tribes, 
which  are  supposed  to  have  traversed  Asia  from  Elam 
to  China,  and  to  have  started  a  new  civilization  in  the 
valley  of  the  Yellow  River;  while  his  predecessor,  Shen 
Nung,  is  identified  with  Sargon,  who  is  supposed  to 
have  ruled  in  Chaldaea  about  3800  B.  C.  But  such 
speculations   are   difficult    to   follow,    although    there 

XXV 


HISTORICAL  INTRODUCTION 

would  really  appear  to  have  been  some  connection  be- 
tween the  nascent  civilizations  of  Chaldaea  and  China 
at  an  early  period. 

With  the  emperors  Yao  and  Shun,  the  last  two  of 
the  "  Five  Rulers,"  we  stand  on  firmer  ground,  as  they 
are  placed  by  Confucius  at  the  head  of  the  Shu  King, 
the  classical  annals  compiled  by  him  in  the  fifth  century 
before  Christ,  and  idealized  as  perfect  models  of  dis- 
interested rule  for  all  time.  Their  capital  was  at  P'ing- 
yang  Fu  in  Shansi,  where  their  memorial  temple  still 
stands  just  outside  the  city  wall,  with  gigantic  images 
of  the  two  heroes,  thirty  feet  high,  in  its  central  pavilion, 
before  which  the  reigning  emperor  Kuang-hsii,  burned 
incense  on  his  return  journey  to  Peking,  in  1900. 

Yao  set  aside  his  own  son  and  called  on  the  nobles 
to  name  a  successor,  when  Shun  was  chosen,  who 
worked  as  a  potter  at  Hopin  before  he  was  called  to 
the  throne.  Shun,  in  his  turn,  passing  by  an  unworthy 
son,  transmitted  the  throne  to  an  able  minister,  the 
great  Yu.  Yu  departed  from  these  illustrious  prece- 
dents, and  incurred  the  censure  of  "converting  the 
empire  into  a  family  estate,"  and  since  his  time  the 
hereditary  principle  has  generally  prevailed.  Yu 
gained  his  great  reputation  by  the  success  of  vast  hy- 
drographic  works,  continued  for  nine  years,  till  the 
country  was  rescued  from  floods,  and  finally  divided 
into  nine  provinces.  His  labors  are  described  in  the 
Tribute  of  Yu,  which  is  preserved  in  the  early  annals 
and  is  generally  considered  to  be  a  contemporary  doc- 
ument. He  is  said  to  have  cast  nine  bronze  tripod 
vessels  {ting)  from  metal  sent  up  from  the  nine  prov- 
inces to  the  capital,  situated  near  K'ai-feng  Fu,  in  the 
province  of  Honan,  which  were  religiously  preserved 
for  nearly  2000  years  as  palladia  of  the  empire. 

Yu  was  the  founder  of  the  Hsia  dynasty,  which  was 
succeeded  by  the  Shang,  and  the  Shang  by  the  Chou, 
as  indicated   by  the  following  table  of    the  period 

xxvi 


HISTORICAL  INTRODUCTION 

which  is  always  known  to  the  Chinese  as  that  of  San 
Tat  (The  Three  Dynasties) . 

THE  THREE  EARLY  DYNASTIES 

NAME  OF  DYNASTY     NUMBER  OF  RULERS     DURATION  OF  DYNASTY 

MB.  C. 
Hsia  Eighteen  2205-1767 

"^  Shang  Twenty-eight  1766-1122 

fiS  Chou  Thirty-five  1122-255 

The  dates  given  in  the  above  table  are  those  of  the 
official  chronology  which,  however,  is  not  contemporary, 
but  has  been  calculated  backwards  by  later  historians 
from  the  lengths  of  the  reigns,  the  cyclical  days  of 
eclipses  of  the  sun  and  moon,  and  other  data  recorded 
in  the  current  annals.  It  has  been  shown  that  the  cycle 
of  sixty  was  used  only  for  days  at  this  time,  not  for 
years.  The  early  dates  must  be  consequently  taken 
as  only  approximative,  since  it  is  not  till  the  accession 
of  Hsiian  Wang  (B.  C.  822)  that  there  is  a  general  agree- 
ment in  the  native  sources.  From  this  date  down- 
wards the  official  Chinese  dates  may  be  accepted  with 
every  confidence. 

The  civilization  of  China  throughout  the  three 
ancient  dynasties  appears  to  have  been,  so  far  as  we 
know,  mainly,  if  not  entirely,  an  indigenous  growth. 
Towards  the  close  of  the  period,  in  the  course  of  the 
fifth  and  fourth  centuries  before  the  Christian  era,  the 
northwestern  of  the  feudal  realms,  the  Ch'in  State, 
which  corresponded  more  or  less  to  the  modern  province 
of  Shensi,  came  prominently  to  the  front,  and  gradually 
extended  its  boundaries  to  the  south  and  west.  Its 
name  became  thus  known  outside,  and  from  it,  no 
doubt,  was  derived  that  of  China,  by  which  the  coun- 
try generally  became  known  to  the  Hindus,  Persians, 
Armenians,  Arabs,  and  ancient  Romans.  About  the 
same  time  signs  of  an  overland  traffic  with  India,  by 


HISTORICAL    INTRODUCTION 

way  of  Burma  and  Assam,  appeared  in  the  Southwest, 
started  by  traders  of  the  Shu  State  (Szchuan  province), 
and  by  this  route  Hindu  ideas  of  forest  seclusion  and 
asceticism  penetrated,  giving  a  marked  color  to  the 
early  Taoist  cult  which  sprang  up  in  these  parts. 

The  famous  builder  of  the  Great  Wall,  who  was  des- 
tined to  overthrow  the  Chou  dynasty,  succeeded  to  the 
throne  of  his  native  State  of  Ch'in  in  B.  C.  246.  In 
B.  C.  221  he  had  conquered  and  annexed  all  the  other 
States,  and  founded  a  new  and  homogeneous  empire  on 
the  ruins  of  the  feudal  system.  He  further  extended 
the  empire  widely  towards  the  south,  drove  back  the 
Hiung-nu  Turks  on  the  north,  and  built  the  Great  Wall 
as  a  rampart  of  defence  against  these  horse-riding 
nomads.  He  next  tried  to  burn  all  historical  books, 
declared  himself  the  First  Divus  Augustus  {Shih 
Huang-ti),  and  decreed  that  his  successors  should  be 
known  as  the  Second,  Third  and  so  forth,  even  down 
to  the  ten-thousandth  generation.  But  his  ambitious 
projects  came  to  naught,  as  his  son  who  succeeded  as 
Erh  Shih  Huang-ti,  or  Emperor  in  the  second  gener- 
ation in  B.  C.  209,  was  murdered  by  the  eunuch  Chao 
Kao,  two  years  after,  and  in  206  his  grandson,  a  mere 
child,  gave  himself  up  to  the  founder  of  the  house  of 
Han,  Liu  Pang,  bringing  with  him  the  jade  seals  of 
State,  and  was  assassinated  a  few  days  later.  A  table 
of  the  regular  succession  of  dynasties  follows  here  for 
reference,  with  the  dates  of  their  commencement. 
The  figures  in  brackets  indicate  the  number  in  the  series 
of  twenty-four  voluminous  dynastic  histories  devoted 
to  their  annals.  {See  Wylie's  Notes  on  Chinese  Lit- 
erature, p.  13.) 

NAME  OF  DYNASTY  BEGAN  REMARKS 


I*  ^^^     )  206      Capital  at  Ch'ang-an. 


B.C. 
221 


XXVlll 


HISTORICAL  INTRODUCTION 

NAME  OF  DYNASTY        BEGAN  REMARKS 


,>jU- 


W 


Eastern  Han  (3) 
After  Han 
Chin 


m 


Ch'i  (7) 
Liang  (8) 
Ch'en  (9) 
Sui(i3) 
T'ang  (16,  17) 
Posterior  Liang 
T'ang 

"        Chin 
Han 

"       Chou 
Northern  Sung ) 


BEGAN 
A.  D. 

25 

221 

265 


W  ^  Eastern  Chin  J  323 

^J  y^  Sung,  Liu  House  (6)      420 


* 


Southern  Sung )  1127 


(20) 


479 
502 

557 
581 
618 
907 
923 
936 

947 
951 

960 


7C 


Yuan  (23) 
Ming  (24) 
Ch'inar 


Capital  at  Loyang. 

)  Epoch  of  the  Three  Kingdoms, 
)     vi:(.,  Han,  Wei,  and  Wu  (4). 


Epoch  of  Division  between  North 
and  South,  Nan  Pei  Ch'ao 
(14,  15),  the  (10)  Wei(Toba), 
-  386-549,  ruling  the  north  ;  fol- 
lowed by  ( 1 1 )  the  Northern 
Ch'i  550-577;  and  (12)  the 
Northern  Chou,  557-581. 


These  short-lived  lines  are  known 
J-    collectively  as  the  Five  Dyn- 
asties, or  wu  Tai  (18,  19). 


North  China  ruled  by  the  Kitan 
Tartars,  as  Liao  dynasty  (21), 
916-1119;  by  the  J  uchen  Tar- 
tars, as  Chin  or  Golden  dynasty 
(22),  1 115-1234. 

Mongolian  dynasty. 


1280 
1368 
1644       Reigning  Manchu  dynasty. 


The  Ch'in  emperor,  who  aimed  at  universal  dominion, 
may  have  heard  rumors  of  the  conquests  of  Alexan- 
der the  Great  in  Central  Asia.  But  it  was  not  till  the 
next  dynasty,  the  Han,  that  regular  communication 
was  opened  up  with  western  countries  by  sending  Chang 
Ch'ien  on  a  mission  to  the  Yeuh-ti,  or  Indo-Seyths, 


HISTORICAL  INTRODUCTION 

whose  capital  was  then  on  the  northern  bank  of  the 
Oxus  River.  The  envoy  started  B.C.  139,  was  kept 
ten  years  a  prisoner  by  the  Hiung-nu  Turks,  who  ruled 
Eastern  Turkistan,  but  at  last  reached  his  destination 
through  Ta  Yuan  (Fergana),  the  name  of  which  is  sup- 
posed to  be  derived  from  the  Asiatic  name  of  the  Greeks 
Ta  being  "Great,"  and  Yuan  equivalent  to  'Move;:  or 
lonians.  The  Chinese  envoy  returned  through  Bactria, 
and  tried  the  Khotan  Lobnor  route,  but  was  again  stop- 
ped by  the  Hiung-nu,  and  got  back  at  last  in  B.  C.  126, 
after  an  absence  of  thirteen  years.  Chang  Ch'ien  found 
bamboo  staves,  cloth  and  other  goods  offered  for  sale 
in  Bactria,  which  he  recognized  as  products  of  Sze- 
chuan,  and  was  told  that  they  were  brought  there  from 
Shentu  (India).  He  reported  to  the  emperor  the  ex- 
istence of  this  southwestern  trade  from  China  to  India, 
and  also  the  name  of  Buddha  and  of  Buddhism  as  an 
Indian  religion.  The  grape  vine  with  its  Greek  name 
(pu-t'ao  from  ^ovpo^),  the  lucerne  {Medicago  saliva), 
the  pomegranate  from  Parthia  (Ansi),  and  several 
other  plants  were  introduced  into  China  by  him,  and 
were  first  planted  at  the  capital  in  the  Shang  Lin  Park. 
The  emperor,  Wu  Ti,  subsequently  sent  friendly  em- 
bassies to  Sogdiana,  and  to  Parthia  in  the  beginning  of 
the  reign  of  Mithradates  II,  followed  by  an  army  to 
Fergana  in  B.  C.  102-100,  which  conquered  the  Ta 
Yuan  kingdom,  and  brought  back  in  triumph  thirty 
blood-sweating  Niscean  horses  (of  classical  fame). 
In  the  far  south  Kattigara  (Cochin  China)  had  been 
annexed  in  no  B.  C,  and  given  the  Chinese  name  of 
Jih  Nan  (South  of  the  Sun),  and  a  ship  was  despatched 
from  that  port  to  get  a  supply  of  the  colored  glass  of 
Kabulistan,  which  was  becoming  so  highly  valued  at 
the  Chinese  court. 

The  official  introduction  of  Buddhism  followed  in  the 
year  67  A.D.  The  emperor  Ming  Ti,  having  seen  in  a 
dream  a  golden  figure  floating  in  a  halo  of  light  across 

XXX 


HISTORICAL  INTRODUCTION 

the  pavilion,  was  told  by  his  council  that  it  must  have 
been  an  apparition  of  Buddha,  and  sent  a  special  mis- 
sion of  inquiry  to  India.  The  envoys  returned  to  the 
capital,  Lo-yang,  with  two  Indian  monks,  bringing 
with  them  Pali  books,  some  of  which  were  forthwith 
translated,  and  pictures  of  Buddhist  figures  and  scenes, 
which  were  copied  to  adorn  the  walls  of  the  palace  halls 
and  of  the  new  temple  which  was  built  on  the  occasion. 
This  was  called  Pat  Ma  Ssii  (The  White  Horse  Temple), 
in  memory  of  the  horse  which  had  carried  the  sacred 
relics  across  Asia,  and  the  two  Indian  sramana  lived 
there  till  they  died.  The  subsequent  influence  of  Bud- 
dhist ideals  on  Chinese  art  has  been  all  pervading,  but 
there  is  no  space  to  pursue  the  subject  here. 

In  97  A.D.  the  celebrated  Chinese  General  Pan  Ch'ao 
led  an  army  as  far  as  Antiocha  Margiana,  and  sent  his 
lieutenant  Kan  Ying  to  the  Persian  Gulf  to  take  ship 
there  on  an  embassy  to  Rome,  but  the  envoy  shirked 
the  sea  journey  and  came  back  without  accomplishing 
his  mission.  Roman  merchants  came  by  sea  to  Katti- 
gara  (Cochin  China)  in  i66  a.d.,  appearing  in  the  annals 
as  envoys  from  the  emperor  An-tun  (Marcus  Aurelius 
Antoninus),  and  later  arrivals  of  Roman  traders  were 
reported  at  Canton  in  226,  284,  etc.  Meanwhile  the 
overland  route  to  the  north,  which  had  been  inter- 
rupted by  the  Parthian  wars,  was  re-opened,  and  many 
Buddhist  missionaries  came  to  Lo-yang  from  Parthia 
and  Samarkand,  as  well  as  from  Gandhara  in  Northern 
India, 

During  the  period  of  the  "Northern  and  Southern 
Dynasties,"  when  China,  from  the  beginning  of  the 
fifth  to  nearly  the  end  of  the  sixth  dynasty,  was  divided. 
Buddhism  flourished  exceedingly.  The  Toba  Tartars, 
who  ruled  the  north,  made  it  a  state  religion,  and  their 
history  devotes  a  special  book  {IV ei Shu,C\\. cxiv)  to  the 
subject,  which  gives  an  interesting  account  of  the  mon- 
asteries, pagodas,  and  rock  sculptures  of  the  time; 

xxxi 


HISTORICAL  INTRODUCTION 

with  a  supplement  on  Taoism  under  the  heading  of 
Huang  Lao,  i.  e.,  the  reHgion  of  Huang  Ti  and  Lao  Tzu. 
In  the  south  the  emperor  Wu  Ti  of  the  Liang  dynasty, 
who  reigned  (502-549)  at  Chien  K'ang  (Nanking),  often 
put  on  the  mendicant's  robes,  and  expounded  the  sacred 
books  of  the  law  in  Buddhist  cloisters.  It  was  in  his 
reign  that  Bodhidharma,  the  son  of  a  king  in  South- 
ern India,  the  twenty-eighth  Indian  and  first  Chinese 
patriarch,  came  to  China  in  a.d.  520,  and  after  a  short 
stay  at  Canton  settled  at  Lo-yang.  He  is  often  repre- 
sented in  glyptic  art  carrying  the  famous  pdtra,  the 
"holy  grail"  of  the  Buddhist  faith,  or  pictured  crossing 
the  Yangtsze  on  a  reed  which  he  had  plucked  from  the 
bank  of  the  river. 

In  the  Sui  dynasty  the  empire  was  re-united,  and 
under  the  Great  T'ang  dynasty  (618-906),  which  suc- 
ceeded, it  attained  its  widest  limits.  The  T'ang  ranks 
with  the  Han  as  one  of  the  great  "world-powers"  of 
Chinese  history,  and  many  of  the  countries  of  Central 
Asia  appealed  to  the  Son  of  Heaven  for  protection 
against  the  rising  prowess  of  the  Arabs.  A  Chinese 
general  with  an  army  of  Tibetan  and  Nepalese  auxil- 
iaries took  the  capital  of  Central  India  (Magadha)  in 
648,  and  fleets  of  Chinese  junks  sailed  to  the  Persian 
Gulf,  while  the  last  of  the  Sasanides  fled  to  China  for 
refuge.  The  Arabs  soon  afterwards  came  by  ship  to 
Canton,  settled  in  some  of  the  coast  cities  as  well  as  in 
the  province  of  Yunnan,  and  enlisted  in  the  imperial 
armies  on  the  northwest  for  service  against  rebels. 
Nestorian  missionaries,  Manichaeans,  and  Jews  came 
overland  during  the  same  period,  but  the  Crescent  pre- 
vailed in  these  parts  and  has  lasted  ever  since,  the  num- 
ber of  Chinese  Mohammedans  to-day  being  estimated 
to  exceed  25,000,000. 

Buddhist  propagandism  was  most  active  early  in  the 
T'ang,  after  the  headquarters  of  the  faith  had  been 
shifted  from  India  to  China.     Hindu  monks,  expelled 

xxxii 


HISTORICAL  INTRODUCTION 

from  their  native  country,  brought  their  sacred  images 
and  pictures  with  them,  and  introduced  their  tradi- 
tional canons  of  art,  which  have  been  handed  down  to 
the  present  day  with  Httle  change,  Chinese  ascetics, 
on  the  other  hand,  wandered  in  successive  parties  to 
India  to  investigate  the  holy  land  of  the  Buddha  and 
burn  incense  before  the  principal  shrines,  studying 
Sanskrit  and  collecting  relics  and  manuscripts  for  trans- 
lation, and  it  is  to  the  records  of  their  travels  that  we 
owe  much  of  our  knowledge  of  the  ancient  geography 
of  India. 

Stimulated  by  such  varied  influences  Chinese  art 
flourished  apace,  the  T'ang  dynasty  being  generally 
considered  to  be  its  golden  period,  as  it  certainly  was 
that  of  literature,  belles-lettres,  and  poetry.  But  the 
T'ang  power  during  its  decline  was  shorn,  one  by  one,  of 
its  vast  dominions,  and  finally  collapsed  in  906.  The 
Kitans,  who  gave  their  name  to  Marco  Polo's  Cathay, 
as  well  as  to  Kitai,  the  modern  Russian  word  for 
China,  were  encroaching  on  the  north,  a  Tangut  power 
was  rising  in  the  northwest,  a  Shan  kingdom  was  es- 
tablished in  Yunnan,  and  Annam  declared  its  inde- 
pendence. 

Of  the  five  dynasties  which  rapidly  succeeded  one 
another  after  the  T'ang,  three  were  of  Turkish  ex- 
traction, and  they  may  be  dismissed  with  a  word  as 
being  of  little  account  from  an  artistic  point  of  view. 

In  960  the  Sung  dynasty  reunited  the  greater  part 
of  China  proper,  shorn  of  its  outer  dominions.  The 
rule  of  the  Sung  has  been  justly  characterized  as  a  pro- 
tracted Augustan  era,  its  inclinations  being  peaceful, 
literary,  and  strategical,  rather  than  warlike,  bold,  and 
ambitious.  Philosophy  was  widely  cultivated,  large 
encyclopedias  were  written,  and  a  host  of  voluminous 
commentaries  on  the  classics  issued  from  the  press,  so 
that  the  period  has  been  summed  up  in  a  word  as  that 
of  Neo-Confucianism.     The  emperor  and  high  officials 

xxxiii 


HISTORICAL  INTRODUCTION 

made  many  collections  of  books,  pictures,  rubbings  of 
inscriptions,  bronze  and  jade  antiquities,  and  other  art 
objects,  of  which  important  illustrated  catalogues  still 
remain,  although  the  collections  have  long  since  been 
dispersed.  During  this  time  the  Chinese  intellect 
would  seem  to  have  become,  as  it  were,  crystallized, 
and  Chinese  art  gradually  developed  into  lines  which 
it  still,  for  the  most  part,  retains. 

The  Yuan  dynasty  (1280- 1367)  was  established  by 
Kublai  Khan,  a  grandson  of  the  great  Mongol  warrior 
Genghis  Khan.  The  Mongols  annexed  the  Uigur  Turks 
and  destroyed  the  Tangut  kingdom;  swept  over  Tur- 
kestan, Persia,  and  the  steppes  beyond;  ravaged 
Russia  and  Hungary;  and  even  threatened  the  existence 
of  Western  Europe.  China  was  completely*  overrun 
by  nomad  horsemen,  its  finances  ruined  by  issues  of  an 
irredeemable  paper  currency,  and  its  cities  handed  over 
to  alien  governors  called  darughas.  A  Chinese  con- 
temporary writer  describes  the  ruin  of  the  porcelain 
industry  at  Ching-te-chen  at  this  time  by  exorbitant 
official  taxation,  so  that  the  potters  were  driven  away 
from  the  old  imperial  manufactory  there,  to  start  new 
kilns  in  other  parts  of  the  province  of  Kiangsi.  Marco 
Polo  is  astonished  at  the  riches  and  magnificence  of 
the  great  khan,  who  was  really  a  ruler  of  exceptional 
power  and  made  good  use  of  his  Chinese  conquests. 
But  the  culture  which  surprised  the  Venetian  traveller 
was  pre-Mongolian,  and  its  growth  was  mainly  due  to 
Chinese  hands.  Even  the  wonderful  cane  palace  of 
Marco  Polo  celebrated  by  Coleridge: — 

"In  Xanadu  did  Kubla  Khan 
A  stately  pleasure  dome  decree,  etc." 

was  actually  the  old  summer  residence  of  the  Sung 
emperors  at  K'ai-feng  Fu,  in  the  province  of  Honan, 
which  was  dismantled  and  carried  away  piecemeal  to 

xxxiv 


HISTORICAL  INTRODUCTION 

be  built  up  again  in  the  park  of  the  new  Mongolian 
capital  of  Shangtu,  outside  the  Great  Wall  of  China. 

The  Mongolian  era  is  responsible  for  some  of  the  re- 
markable similarities  that  have  been  noticed  in  in- 
dustrial art  work  of  Western  and  Eastern  Asia,  which 
were  then  for  the  first  time  under  the  rule  of  the  same 
house.  Hulagu  Khan  is  said  to  have  brought  a  hun- 
dred families  of  Chinese  artisans  and  engineers  to  Persia 
about  1256;  and  on  the  other  hand,  the  earliest  painted 
porcelain  of  China  is  decorated  with  panels  of  Arabic 
script  pencilled  in  the  midst  of  floral  scrolls,  strongly 
suggestive  of  Persian  influence. 

The  Mongols  were  driven  out  of  China  to  the  North 
of  the  desert  of  Gobi  in  1368,  in  which  year  the  Ming 
dynasty  was  founded  by  a  young  bonze  named  Chu 
Yuan-chang.  They  raided  the  borders  for  some  time, 
and  even  carried  off  one  of  the  Chinese  emperors  in 
1449,  who,  however,  was  liberated  eight  years  later, 
to  resume  his  reign  under  the  new  title  of  T'ien-shun, 
as  may  be  seen  in  the  accompanying  list.  This  is 
noticeable  as  being  the  only  change  of  nien-hao  during 
the  last  two  dynasties,  whereas  in  previous  lines  changes 
were  very  frequent. 

The  early  Ming  emperors  kept  up  intercourse  with 
the  west  by  sea,  and  the  reign  of  Yung-lo  and  Hsiian-t^ 
are  especially  distinguished  by  the  career  of  a  famous 
eunuch  admiral,  who  went  in  command  of  armed  junks 
to  India,  Ceylon,  and  Arabia,  down  the  African  coast 
to  Magadoxu,  and  up  the  Red  Sea  as  far  as  Jiddah, 
the  seaport  of  Mecca.  Celadon  porcelain  (ch'ing  t^'u) 
is  included  in  the  list  of  articles  taken  to  Mecca  in  the 
reign  of  Hsuan-te  (1426-35),  and  it  was  perhaps  one 
of  these  expeditions  that  brought  the  celadon  vases 
sent  by  the  Sultan  of  Egypt  in  1487  to  Lorenzo  de 
Medici.  In  the  next  century  Portuguese  and  Spanish 
ships  appeared  for  the  first  time  in  these  seas,  and 
Chinese  junks  were  no  more  seen.    The  four  Burghley 

XXXV 


HISTORICAL  INTRODUCTION 

House  pieces  of  Ming  porcelain  with  Elizabethan  silver- 
gilt  mounts,  in  the  collection  at  the  South  Kensington 
Museum,  were  probably  brought  to  Europe  by  one  of 
the  early  Spanish  ships. 

Modern  history  begins  at  this  point,  and  need  not 
be  discussed  here.  It  only  seems  necessary  to  append 
a  list  of  the  reigns  of  the  emperors  of  the  Ming  dynasty, 
followed  by  another  of  the  Manchu  Tartar  line,  which 
supplanted  the  Ming  in  1644,  and  is  still  reigning  in 
China. 

An  octagonal  melon-shaped  wine-pot  in  the  South 
Kensington  Museum  collection,  decorated  with  Chinese 
boys  playing  and  conjuring,  is  mounted  in  Elizabethan 
silver-gilt  with  hall-marks  of  the  year  1585.  The  other 
four  interesting  pieces,  also  with  Elizabethan  mounts, 
belong  to  the  Pierpont  Morgan  Collection,  and  are  now 
exhibited  on  loan  at  the  South  Kensington  Museum. 
They  were  shown  at  the  Burlington  Fine  Arts  Club  in 
1895,  and  are  now  described  in  the  Catalogue  of  Blue 
and  JVhite  Oriental  Porcelain  printed  at  the  time,  as 
coming  from  Burghley  House,  where  they  had  been  seen 
in  the  possession  of  the  Cecil  family  from  the  time  of 
Queen  Elizabeth.  A  ewer,  artistically  painted  in  soft 
blue  with  birds  and  flowers,  is  mounted  with  a  silver- 
gilt  base,  six  bands  formed  as  wreaths  with  cherubs' 
heads  in  relief,  a  band  round  the  neck,  with  lip  and 
lid  surmounted  with  three  dolphins  and  a  handle  formed 
of  a  mermaid,  with  a  double-twisted  tail,  all  in  silver- 
gilt.  The  last  of  the  four  pieces,  a  bowl,  decorated 
with  floral  sprays  and  imperial  phoenixes  pencilled  in 
typical  Ming  style,  has  the  mark  Wan-li  (i  573-1619) 
outlined  under  the  foot  in  underglaze  blue;  the  rest 
are  unmarked,  but  are  unmistakable  examples  of  the 
ceramic  style  of  the  same  reign. 


XXXVl 


HISTORICAL  INTRODUCTION 


EMPERORS   OF 

THE   1^ 

MING  DYNASTY 

DYNASTIC  TITLE 

TITLE  OF  REIGN 

DATE  OF 

M 

?ao  //oo 

N 

ten  Hao 

ACCESSION 

■xm. 

T'ai  Tsu 

m^ 

Hung  Wu 

1368 

M^ 

HuiTi 

M  >c 

Chien  Wen 

1399 

)&wl 

Ch'^ng  Tsu 

W<^ 

Yung  Lo 

1403 

Jen  Tsung 

mm 

Hung  Hsi 

1425 

Hsiian  Tsung 

•^.m 

Hsuan  TS 

1426 

Ying  Tsung 

it  im 

Cheng  T'ung 

1436 

Ching  Ti 

M^ 

Ching  T'ai 

1450 

^  -^    YingTsung    ; 
(resumed  government)  ) 

%m 

T'ien  Shun 

1457 

Hsien  Tsung 

htit 

Ch'eng  Hua 

1465 

#^ 

Hsiao  Tsung 

^•^ 

Hung  Chih 

1488 

^^ 

Wu  Tsung 

iEfg 

Cheng  Te 

1506 

tfi:^ 

Shih  Tsung 

mm 

Chia  Ching 

1522 

la  id^ 

Mu  Tsung 

i^m 

Lung  Ch'ing 

1567 

jfi*  ^* 

Shen  Tsung 

,!)£. 

Wan  Li 

1573 

Tt  7J> 

Kuang  Tsung 

0  © 

T'ai  Ch'ang 

1620 

^   ii* 

Hsi  Tsung 

Jim 

T'ien  Ch'i 

162I 

Aj-  ^ij  fj^ChuangLiehTi 

mm 

Ch'ungChen 

1628 

EMPERORS  OF   THE 

DYNASTIC  TITLE 

Miao  Hao 

"tH:  11  Shih  Tsu 

1^  jj(§_     ShSng  Tsu 


i^m 


GREAT    CH  ING    DYNASTY 


TITLE  OF  REIGN 

Nien  Hao 

DATE  OF 
ACCESSION 

)iM  yp  sh""  ^^^^ 

1644 

I^EE     K'angHsi 

1662 

xxxvii 

HISTORICAL  INTRODUCTION 
EMPERORS  OF  THE  GREAT  CH'ING  DYNASTY-Continued 


DYNASTIC  TITLE 

Miao  Hao 


Shih  Tsung 
Kao  Tsung 
J^n  Tsung 
Hsiian  Tsung 
Wen  Tsung 
Mu  Tsung 


TITLE  OF  REIGN 

Nien  Hao 


Pi 


€* 


Yung  Ch'eng 
Ch'ien  Lung 
Chia  Ch'ing 
Tao  Kuang 
Hsien  Feng 
T'ung  Chih 
Kuang  Hsii 


DATE  OF 
ACCESSION 


1723 
1736 
1796 
I82I 
I85I 
1862 

1875 


The  Empress  Dowager  rules  China  in  the  present 
day  with  diminished  prestige  when  compared  with 
her  illustrious  predecessors,  K'ang-hsi  (i  662-1 722) 
and  Ch'ien-lung  (i 736-1 795),  but  undismayed  withal, 
she  wields  the  calligraphic  brush  with  a  firm  hand  on 
the  autograph  scrolls  which  she  distributes  among  her 
adherents,  and  is  a  liberal  patron  of  native  art.  Her 
"seals"  are  to  be  seen  on  many  of  the  vases  and  dishes 
lately  looted  from  the  palace  at  Peking,  an  evidence 
that  the  fires  are  again  burning  at  the  imperial  pot- 
teries, the  scene  of  which  is  vividly  pictured  in  the  lines: 

"And  bird-like  poise  on  balanced  wing 
Above  the  town  of  King-te-ching, 
A  burning  town  or  seeming  so, — 
Three  thousand  furnaces  that  glow 
Incessantly,  and  fill  the  air 
With  smoke  uprising,  gyre  on  gyre, 
And  painted  by  the  lurid  glare 
Of  jets  and  flashes  of  red  fire." 

Longfellow:  Keramos. 


xxxvni 


CHINESE  POTTERY  AND  PORCELAIN 

TH  E  term  pottery  used  in  its  widest  sense  includes 
every  production  of  the  fictile  art,  and  com- 
prises all  kinds  of  earthenware  and  stoneware, 
as  well  as  porcelain,  its  highest  achievement. 
Porcelain  has  been  evolved  from  ordinary  pottery  by  a 
gradual  improvement  in  the  selection  of  materials  and 
in  finish  of  work,  and  there  is  hardly  a  straight  line  of 
demarcation  between  the  two,  either  chemically  or 
microscopically.  Ceramic  knowledge  is  derived  partly 
from  literary  records  and  traditions,  partly  from  ac- 
tual specimens,  and  is  more  convincing  when  the  two 
sources  of  information  are  carefully  combined.  There 
is  a  voluminous  ceramic  literature  in  China,  but  there 
is  no  space  to  approach  the  subject  here,  and  the  in- 
quirer may  be  referred  to  the  special  chapter  on  Chinese 
ceramic  bibliography  in  the  Walters  Catalogue.* 

POTTERY 

The  general  Chinese  for  pottery,  as  defined  above, 
is  t'ao,  a  very  ancient  character,  the  construction  of 
which  shows  that  it  originally  meant  "kiln,"  although 
now  it  is  applied  to  all  kinds  of  ware  fired  in  kilns, 
from  the  commonest  earthenware  to  the  finest  porce- 

*Oriental  Ceramic  Art,  Chap.  XII.  By  S.  W.  Bushell.  New 
York,  1899. 

xxxix 


HISTORICAL  INTRODUCTION 

lain.  Another  character,  yao,  of  more  recent  construc- 
tion, is  now  used  for  "kiln";  and  also,  again,  for  ware 
fired  in  a  kiln,  so  that  kuan  yao  (imperial  ware), 
is  the  ordinary  name  used  for  the  productions  of  the 
imperial  potteries  at  Ching-te-chen.  Their  word  for 
earthenware  is  wa,  the  character  for  which  was  orig- 
inally the  picture  of  a  rounded  tile. 

Porcelain  was  certainly  invented  in  China.  This 
is  acknowledged,  as  it  were,  by  the  English  adoption 
of  the  word  "china"  as  equivalent  to  porcelain;  and 
even  in  Persia,  where  Chinese  porcelain  has  been 
known  and  imitated  for  centuries,  *the  only  country 
to  which  an  independent  invention  has  been  plausibly 
attributed  by  some  writers,  the  word  chini  has  a  sim- 
ilar connotation.  For  the  creation  of  a  scientific 
classification  of  ceramic  products  we  are  indebted 
to  Brongniart,  and  may  adopt  his  definition  of  the  dis- 
tinctive characteristics  of  porcelain.  Porcelain  ought 
to  have  a  white,  translucent,  hard  paste,  not  to  be 
scratched  by  steel,  homogeneous,  resonant  and  vitri- 
fied, exhibiting,  when  broken,  a  conchoidal  fracture 
of  fine  grain  and  brilliant  aspect.  These  qualities, 
inherent  in  porcelain,  make  it  impermeable  to  water, 
and  enable  it  to  resist  the  action  of  frost  even  when 
uncoated  with  glaze.  Among  the  characteristics  of 
the  paste  given  above,  translucency  and  vitrification 
define  porcelain  best.  If  either  of  these  two  qualities 
be  wanting,  we  have  before  us  another  kind  of  pottery; 
if  the  paste  possess  all  the  other  properties,  with 
the  exception  of  translucency,  it  is  a  stoneware;  if 
the  paste  be  not  vitrified,  it  belongs  to  the  category 
of  terra-cotta  or  of  faience. 

The  Chinese  define  porcelain  under  the  name  of 
t:('u,  a  character  first  found  in  books  of  the  Han  dy- 
nasty (b.  c.  206-A.  D.  220),  as  a  hard,  compact,  fine- 
grained pottery  (t'ao),  and  distinguish  it  by  the  clear, 
musical  note  which  it  gives  out  on  percussion,  and  by 

xl 


HISTORICAL  INTRODUCTION 

the  test  that  it  cannot  be  scratched  by  a  knife.  They 
do  not  lay  so  much  stress  on  the  whiteness  of  the  paste, 
nor  on  its  translucency,  so  that  some  of  the  pieces  may 
fail  in  these  two  points  when  the  fabric  is  coarse;  and 
yet  it  would  be  difficult  to  separate  them  from  the 
porcelain  class.  The  paste  of  the  ordinary  ware,  even 
at  Ching-te-chen,  is  composed  of  more  heterogeneous 
materials  than  that  fabricated  at  European  factor- 
ies, and  may  even  be  reduced  in  some  cases  to  a  mere 
layer  of  true  porcelain  earths  (kaolin  and  petuntse) 
plastered  over  a  substratum  of  yellowish  gray  clay. 
The  Chinese  always  separate,  on  the  other  hand,  dark- 
colored  stonewares,  like  the  reddish-yellow  ware 
made  at  Yi-hsing,  in  the  province  of  Kiangsu,  known 
to  us  by  the  Portuguese  name  of  hoccaro,  or  the  dense 
brown  refractory  stoneware  of  archaic  look,  produced 
at  Yang-chiang,  in  the  southern  part  of  the  province 
of  Kwangtung,  which  is  coated  with  colored  enamels, 
and  is  often  put  in  our  collections  among  the  mono- 
chrome porcelains. 

Some  typical  specimens  of  Kuang  yao,  as  this  last 
stoneware  is  called,  are  exhibited  in  Case  XXXVI,  e.g., 
No.  883,  which  is  the  base  of  a  Kuang  yao  vase  of 
archaic  aspect,  cut  down;  No.  886,  an  old  vase  worked 
in  salient  relief,  and  covered  with  purple  mottling 
glazes  of  finely  crackled  texture,  the  iron-gray  paste 
of  which  is  seen  under  the  foot;  and  No.  893,  a  charac- 
teristic form  invested  with  a  grayish  celadon  glaze, 
which  has  partly  peeled  off  from  the  foliated  rim,  dis- 
closing the  dark-colored  paste  underneath.  Pot- 
ters' marks  are  occasionally  found  stamped  in  the 
paste  under  the  pieces  from  these  kilns. 

The  Yi-hsing  yao  has  also  no  pretension  to  figure 
amongst  porcelain,  although  a  rare  tea-pot  may  have 
come  out  of  the  kiln,  as  we  are  told,  with  transparent 
sides,  as  a  freak  of  the  fire.  No  examples  of  this  red 
and  buff-colored  faience  are  in  the  Morgan  Collection, 

xli 


HISTORICAL  INTRODUCTION 

SO  that  it  need  not  detain  us  long.  The  Yi-hsing  pot- 
teries flourished  most  under  the  Ming  dynasty,  having 
been  founded  by  Kung  Ch'un  in  the  reign  of  Cheng-te 
(i  506-1 521).  A  more  famous  potter  named  Ou  worked 
here  during  the  reign  of  Wan-li  (i  573-1619),  who  ex- 
celled in  the  imitation  of  the  antique  reproducing  the 
old  crackled  and  variegated  glazes  of  the  Sung  dy- 
nasty on  the  brown  stoneware  of  the  place.  Bottger, 
the  inventor  of  Saxon  porcelain,  first  tried  his  hand 
at  the  imitation  of  the  Chinese  boccaro  ware  in  1708, 
some  of  his  pieces  being  exhibited  in  the  Johanneum 
at  Dresden,  beside  the  original  models — with  some 
success,  although  his  essays  hardly  deserve  the  epithet 
of  porcelaine  rouge  with  which  they  were  baptized. 
The  Elers,  too,  copied  the  red  varieties  with  great 
exactness  in  Staffordshire,  so  that  it  is  not  always  easy, 
according  to  Sir  Wollaston  Franks,  to  distinguish  their 
productions  from  Oriental  examples. 

After  this  digression  we  must  return  to  the  story  of 
pottery  in  China.  It  passed  through  here,  as  else- 
where, the  usual  stages  of  sun-dried  and  burned  bricks, 
tiles,  architectural  ornaments,  culinary  utensils,  funeral 
and  sacrificial  vases  and  dishes.  The  most  ancient 
specimens,  dug  up  from  burial  mounds,  resemble  gen- 
erally, in  form  as  well  as  in  fabric,  the  prehistoric  pot- 
tery of  other  parts  of  the  world.  They  are  unglazed, 
and  only  the  later  examples  show  signs  of  having  been 
fashioned  on  the  wheel.  The  Chinese  claim  the  in- 
vention of  the  potter's  wheel,  like  many  of  the  great 
nations  of  antiquity,  and  ascribe  it  to  a  director  of 
pottery  attached  to  the  legendary  emperor,  Huang  Ti, 
who  "first  taught  the  art  of  welding  clay."  The 
ancient  emperor  Shun,  who  was  a  potter  before  he 
was  called  to  the  throne,  is  reputed  to  have  been  a 
master  of  the  art,  his  wine  vessels  and  earthenware 
coffins  being  alluded  to  in  the  ritual  classics  of  the 
Chou  dynasty.    Wu  Wang,  the  founder  of  the  Chou 

xlii 


HISTORICAL  INTRODUCTION 

dynasty,  after  his  conquest  of  China  in  the  twelfth 
century  b.  c,  is  recorded  to  have  sought  out  a  lineal 
descendant  of  the  emperor  Shun,  on  account  of  his 
hereditary  skill  in  the  fabrication  of  pottery,  and  to 
have  given  him  his  own  eldest  daughter  in  marriage, 
endowed  with  the  fief  of  the  State  of  Ch'en,  now  Ch'en- 
chou  in  the  province  of  Honan,  to  keep  up  there  the  an- 
cestral worship  of  his  accomplished  ancestor. 

There  are  many  other  references  to  pottery  in  the 
old  books  of  the  Chou  dynasty.  The  K'ao  Kung  Chi, 
a  contemporary  official  work  on  the  industries  of  the 
period,  has  a  short  section  on  the  pottery  made  for 
the  public  markets,  which  gives  the  names  and  meas- 
urements of  several  kinds  of  cooking  vessels,  sacrifi- 
cial vases  and  platters,  in  the  fabrication  of  which  the 
processes  of  throwing  on  the  wheel  and  pressing  in 
moulds  are  clearly  distinguished.  The  different  ves- 
sels were  made  by  two  classes  of  craftsmen,  called 
respectively  t'ao  jen,  (potters,)  and  fang  jen,  (mould- 
ers). The  early  objects  of  pottery — unearthed  in  China 
are  remarkably  similar  in  form,  as  well  as  in  ornamental 
details,  with  the  corresponding  utensils  of  bronze, 
which  are  less  perishable  and  so  better  known.  Clay 
was,  doubtless,  the  earliest  material  used  for  meat 
offerings  and  libations  of  wine  in  ancestral  worship, 
and,  though  supplanted  by  bronze  among  the  rich, 
it  is  still  retained  in  the  ritual  of  the  poor. 

Pottery  of  the  Chou  dynasty  is  occasionally  found 
incised  with  dedicatory  inscriptions  of  the  same  char- 
acter as  those  on  the  contemporary  bronzes,  and  is 
also  used  by  archaeologists  in  their  study  of  the  an- 
cient script.  But  it  was  not  till  the  former  Han  dy- 
nasty, just  before  the  Christian  era,  that  dates  began 
to  appear,  impressed  generally  by  a  stamp  under  the 
foot  of  the  piece,  giving  the  title  of  the  reign  and  the 
year,  with  the  addition,  perhaps,  of  its  cyclical  number. 
Bricks  and  tiles  intended  for  the  palaces  of  the  Ch'in 

xliii 


HISTORICAL  INTRODUCTION 

and  Han  dynasties  had  previously  been  moulded  with 
dates  and  feHcitous  formulae,  so  that  it  was  easy  to  ex- 
tend the  practice  to  pottery  vessels  of  similar  ma- 
terial, fired,  maybe,  at  the  same  kiln. 

Pottery  has  always  been  an  important  adjunct 
to  Chinese  architecture;  buildings  being  faced,  out- 
side as  well  as  inside,  with  slabs  of  colored  faience, 
while  the  roofs  are  decorated  with  moulded  antefixal 
ornaments  of  grotesque  character,  and  covered  with  en- 
amelled tiles,  colored  in  obedience  to  strict  sumptuary 
laws.  The  famous  porcelain  tower  of  Nanking,  now 
razed  to  the  ground,  was  a  well-known  example.  The 
colors  employed  in  China  are  powdered  glazes  made 
with  a  lead  flux,  and  the  method  of  application  is  like 
that  of  the  firing  of  salt-glazed  ware  in  Europe.  The 
glazes  used  at  the  imperial  factories  near  Peking  are  five 
in  number:  a  deep  purplish  blue  derived  from  cobalt 
and  manganese  silicates,  a  rich  green  from  copper 
persilicate,  a  yellow  approaching  the  tint  of  the  yolk 
of  an  egg  from  antimony,  a  sang  de  hoeuf  red  from  cop- 
per mixed  with  a  deoxidising  flux,  and  a  charming 
turquoise  blue  obtained  from  copper  combined  with 
nitre.  The  five-fold  combination  is  intended  to  sug- 
gest the  five  jewels  of  the  Buddhist  paradise. 

The  date  of  the  introduction  of  glaze  into  the  Chinese 
ceramic  field  is  unknown,  although  it  would  appear  to 
have  been  earlier  than  that  of  the  use  of  glass  by  them 
as  an  independent  fabric  for  vessels.  It  goes  back 
certainly  to  the  Han  dynasty  (b.c.  2o6-a.d.  220),  during 
which  green-glazed  pottery  came  into  vogue,  and  the 
art  was  revived  early  in  the  fifth  century  by  certain 
artisans  who  are  recorded  to  have  come  from  the 
Yueh-ti,  an  Indo-Scythian  kingdom  on  the  frontier 
of  India,  and  to  have  introduced  into  China  new  methods 
of  compounding  liu-li,  or  colored  glazes.  The  vessels 
of  green-glazed  faience  that  have  just  been  referred 
to  are  of  archaic  form,  modelled  after  bronze  designs 

xliv 


HISTORICAL  INTRODUCTION 

with  ornamental  bands  worked  in  relief,  covered  with 
a  lustrous  green  glaze  derived  from  copper  persilicate. 
The  paste  is  buff -colored,  or  of  darker  shades  of  yellow 
and  red,  and  is  hardly  to  be  scratched  by  the  point  of 
a  knife;  the  glaze,  approaching  in  tint  the  rind  of  a 
cucumber,  or  the  leaf  of  a  camellia,  mottled  over  with 
darker  clouds,  is  of  finely  crackled  texture,  and  often 
becomes  strongly  iridescent  from  age.  The  archaic 
vases  of  this  class  are  universally  attributed  by  na- 
tive connoisseurs  to  the  Han  dynasty.  They  are 
occasionally  dated,  as  in  the  case  of  a  characteristic 
specimen  formerly  in  the  Dana  Collection  at  New  York, 
which  was  engraved  with  a  date  corresponding  to  b.  c. 
133,  the  second  year  of  the  period  Yuan  Kuang. 

This  early  green  enamelled  ware  is  not  porcelain, 
as  its  body  lacks  the  two  essential  qualities  of  white- 
ness and  translucency.  It  is  chiefly  interesting  as 
giving  a  fixed  point  for  the  study  of  the  subsequent 
evolution  of  the  ceramic  art  in  China.  On  the  one 
hand,  a  gradual  progress  in  the  selection  of  materials 
and  in  the  perfection  of  methods  of  manufacture,  where 
kaolin  was  available,  culminated  in  the  invention  of 
porcelain.  On  the  other  hand,  where  colored  clays 
only  were  mined  evolution  was  restricted  to  refine- 
ment of  the  paste,  improvement  of  technique,  the  in- 
troduction of  new  methods  of  decoration,  such  as 
colored  enamels  of  new  tints,  and  the  like.  The 
Han  dynasty  vessels  have  been  mostly  dug  up  in  the 
neighborhood  of  Peking,  and  were  probably  made  not 
far  away,  so  that  their  recent  representatives  would 
be  the  imposing  jars  Nos.  896,909,  Cases  XXXVI, 
XXXVII,  which  were  doubtless  fashioned  in  the  Liu-Ii 
Ch'ang  factory  at  Peking  in  the  Ming  dynasty. 

PORCELAIN 

Porcelain  has  been  broadly  defined  as  the  generic 

xlv 


HISTORICAL  INTRODUCTION 

term  employed  to  designate  all  kinds  of  pottery  to 
which  an  incipient  vitrification  has  been  imparted  by 
firing.  This  translucent  pottery  may  be  divided  into 
two  classes:  i.  Hard  paste,  containing  only  natural 
elements  in  the  composition  of  the  body  and  the  glaze. 
2.  Soft  paste,  where  the  body  is  an  artificial  combina- 
tion of  various  materials,  agglomerated  by  the  action 
of  fire,  in  which  the  compound  called  a.  frit  has  been 
used  as  a  substitute  for  a  natural  rock.  No  soft  paste 
porcelain,  as  here  defined,  has  ever  been  made  in 
China,  so  that  it  need  not  be  referred  to  further.  All 
Chinese  porcelain  is  of  the  hard  paste  variety.  The 
body  consists  essentially  of  two  elements — vi{.,  the 
white  clay,  or  kaolin,  the  unctuous  and  infusible  ele- 
ment, which  gives  plasticity  to  the  paste,  and  the 
felspathic  stone,  or  petuntse,  which  is  fusible  at  a  high 
temperature,  and  gives  transparency  to  the  porcelain. 
Of  the  two  Chinese  names,  which  have  become  class- 
ical since  they  were  adopted  in  the  dictionary  of  the 
French  Academy,  kaolin  is  the  name  of  a  locality  near 
Ching-te-chen,  where  the  best  porcelain  earth  is  mined, 
petuntse,  literally  "white  briquettes,"  refers  to  the 
shape  in  which  the  finely  pulverized  porcelain  stone 
is  brought  to  the  potteries,  after  it  has  been  submitted 
to  the  preliminary  processes  of  pounding  and  decan- 
tation.  The  felspathic  stone  from  Ch'i-men-hsien,  in 
the  province  of  Kiangsu,  has  been  chemically  analyzed 
by  Ebelmen,  who  describes  it  as  a  white  compact 
rock  of  slightly  grayish  tinge,  occurring  in  large  frag- 
ments, covered  with  manganese  oxide  in  dendrites, 
and  having  crystals  of  quartz  imbedded  in  the  mass, 
which  fuses  completely  into  a  white  enamel  under  the 
blowpipe. 

In  actual  practice  many  other  materials,  such  as 
powdered  quartz  and  crystallized  sands,  for  example, 
are  added  to  the  above  two  essential  ingredients  in  the 
preparation  of  the  body  of  Chinese  porcelain,  which 

xlvi 


HISTORICAL    INTRODUCTION 

varies  very  widely  in  composition.  A  special  paste 
made  of  huang  tun,  or  "yellow  bricks,"  derived  from 
a  very  tough  compact  rock,  pounded  on  the  spot  in 
larger  water  mills,  is  used  for  coarser  ware,  and  is 
said  to  be  indispensable  for  the  proper  development  of 
some  of  the  single-colored  glazes  of  the  high  fire. 

The  glaze  {yu)  of  Chinese  porcelain,  is  made  of  the 
same  felspathic  rock  that  is  used  in  the  composition 
of  the  body,  the  best  pieces  of  petuntse  being  reserved 
for  the  glaze,  selected  for  their  uniform  greenish  tone, 
especially  when  veined  with  dendrites  like  leaves  of 
the  arhor  vitce.  This  is  mixed  with  lime,  prepared  by 
repeated  combustion  of  gray  limestone,  piled  in  alter- 
nate layers  with  ferns  and  brushwood  cut  from  the 
mountainside.  The  action  of  the  lime  is  to  increase  the 
fusibility  of  the  felspathic  stone.  The  finest  petuntse, 
called  yu  kuo  or  "glaze  essence,"  and  the  purified 
lime,  called  lien  hut,  separately  made  with  the  addi- 
tion of  water  into  purees  of  the  same  thickness,  are 
afterwards  mixed  by  measure  in  different  proportions 
to  make  a  liquid  glaze.  This  glaze  is  finally  put  on 
the  raw  body  with  the  brush,  by  dipping,  or  by  in- 
sufflation. T'ang  Ying  tells  us  that  in  his  time  the 
glaze  of  the  highest  class  of  porcelain  was  composed 
of  ten  measure  of  the  petuntse  puree  with  one  measure 
of  the  liquid  lime.  Seven  or  eight  ladles  of  petuntse 
with  three  or  two  ladles  of  lime  were  used  for  the  glazes 
of  the  middle  class.  With  petuntse  and  lime  in  equal 
proportions,  or  with  lime  predominating,  the  glaze  was 
described  by  him  as  fit  only  for  coarse  ware. 

The  glaze  of  Chinese  porcelain  always  contains  lime. 
It  is  the  lime  which  gives  it  a  characteristic  tinge  of 
green  or  blue,  but  at  the  same  time  conduces  to  a  bril- 
liancy of  surface  and  a  pellucid  depth  never  found  in 
more  refractory  glazes  which  contain  no  lime.  This 
has  been  proved,  moreover,  at  Sevres,  and  it  is  interest- 
ing to  note  that,  according  to  M.  Vogt,  the  glaze  of  the 

xlvii 


HISTORICAL  INTRODUCTION 

nouvelle  porcelaine  recently  made  there  is  prepared 
with  33  per  cent  of  chalk. 

Origin. — It  is  generally  agreed  that  porcelain  was 
first  made  in  China,  but  authorities  differ  widely  in 
fixing  a  date  for  its  invention.  The  Chinese  attribute 
its  invention  to  the  Han  dynasty,  when  a  new  character 
il'u  was  coined  to  designate,  presumably,  a  new  sub- 
stance. The  official  memoir  on  "Porcelain  Admin- 
istration" in  the  topography  of  Fou-liang  (Fou-liang- 
hsien  chih,  book  viii,  folio  44),  the  first  edition  of 
which  was  published  in  1270,  says  that,  according  to 
local  tradition,  the  ceramic  works  at  Hsin-p'ing  (an 
old  name  of  Fou-liang)  were  founded  in  the  time  of 
the  Han  dynasty,  and  had  been  in  constant  operation 
ever  since.  This  is  confirmed  by  T'ang  Ying,  the  cele- 
brated superintendent  of  the  Imperial  potteries,  ap- 
pointed in  1728,  who  states  in  his  autobiography  that 
the  result  of  his  researches  shows  that  porcelain  was 
first  made  during  the  Han  dynasty  at  Ch'ang-nan 
(Ching-te-chen),  in  the  district  of  Fou-liang.  The 
industrial  environment  of  the  period  lends  a  certain 
plausibility  to  the  theory,  as  we  know  that  quantities 
of  glass  vessels  were  being  imported  at  the  time  from 
the  workshops  of  Syria  and  Egypt,  and  it  seems  nat- 
ural that  experiments  should  be  made  to  fabricate 
something  of  the  kind  at  the  Chinese  potteries.  The 
eminent  Japanese  art  critic,  Kakasu  Okakura,  in  his 
Ideals  of  the  East,  suggests  that  the  alchemists  of  the 
Han  dynasty,  in  their  prolonged  research  for  the  elixir 
vitce  and  the  philosopher's  stone,  may  have  somehow 
made  the  discovery,  and  he  arrives  at  the  conclusion 
that,  "We  may  ascribe  the  origin  of  the  wonderful 
porcelain-glaze  of  China  to  their  accidental  discover- 
ies." 

In  the  Wei  dynasty  (221-264)  which  succeeded  the 
Han,  we  read  of  a  glazed  celadon  ware  made  at  Lo- 
yang  for  the  use  of  the  palace,  and  in  the  Chin  dynasty 

xlviii 


HISTORICAL  INTRODUCTION 

(265-419)  have  the  first  mention  of  blue  porcelain, 
produced  at  Wen-chou,  in  the  province  of  Chehkiang, 
the  progenitor  of  the  sky-blue  glazes  tinted  with  co- 
balt which  afterwards  became  so  famous.  The  short- 
lived Sui  dynasty  (581-617)  is  distinguished  for  a  kind 
of  green  porcelain  {lii  t{'u),  invented  by  a  President  of 
the  Board  of  Works  named  Ho  Chou,  to  replace  green 
glass,  the  composition  of  which  had  been  lost,  since  its 
introduction  by  artisans  from  Northern  India  about 
A.D.  424. 

Much  progress  must  have  been  made  meanwhile  in 
the  ceramic  production  of  the  province  of  Kiangsi,  as 
it  is  recorded  in  the  topography  of  Fou-liang,  referred 
to  above,  that  in  the  beginning  of  the  reign  of  the 
founder  of  the  T'ang  dynasty,  Ta'o  Yii,  a  native  of 
the  district,  brought  up  a  quantity  of  porcelain  to  the 
capital  in  Shensi,  which  he  presented  to  the  emperor  as 
"imitation  jade."  In  the  fourth  year  (A.D.621)  of  this 
reign  the  name  of  the  district  was  changed  to  Hsin- 
p'ing,  and  a  decree  was  issued  directing  Ho  Chung-ch'u 
and  his  fellow  potters  to  send  up  a  regular  supply  of 
porcelain  for  the  use  of  the  imperial  palace.  The 
simile  of  "imitation  jade"  is  significant,  and  almost 
proves  that  it  must  have  been  really  porcelain,  espec- 
ially as  it  was  the  production  of  the  place  where  the 
finest  porcelain  is  made  in  the  present  day.  White 
jade  has  always  been  the  ideal  of  the  Chinese  potter, 
whose  finished  work  actually  rivals  the  most  highly 
polished  nephrite  in  purity  of  color,  translucency 
and  lustre,  while  the  egg-shell  body  attains  the  same 
degree  of  hardness  (6.5  of  Mohs's  scale),  so  that  it  can 
be  scratched  by  a  quartz  crystal,  but  not  by  the  point 
of  a  steel  knife. 

There  are  abundant  references  to  porcelain  in  the 
voluminous  literature  of  the  T'ang  dynasty  (618-906). 
The  biography  of  Chu  Sui  in  the  annals  recounts  the 
zeal  which  he  showed,  when  superintendent  of  Hsin- 

xlix 


HISTORICAL  INTRODUCTION 

p'ing,  in  obeying  a  decree,  issued  in  707,  ordering  sacri- 
ficial utensils  for  the  imperial  tombs.  The  Ch'a  Ching, 
a  classical  book  on  tea,  describes  the  different  kinds 
of  bowls  preferred  by  tea  drinkers,  classifying  them 
according  to  the  color  of  their  glaze  in  enhancing  the 
tint  of  the  infusion.  The  poets  of  the  time  liken 
their  wine  cups  to  "disks  of  thinnest  ice,"  to  "tilted 
lotus  leaves  floating  down  a  stream,"  to  white  or  green 
jade.  A  verse  of  the  poet  Tu  (803-852)  is  often  quoted 
referring  to  white  porcelain  from  the  province  of 
Ssechuan: 

"The  porcelain  of  the  Ta-yi  kilns  is  light  and  yet  strong.  It 
rings  with  a  low  jade  note,  and  is  famed  throughout  the  city. 
The  fine  white  bowls  surpass  hoarfrost  and  snow." 

The  first  line  praises  the  fabric,  the  second  the  re- 
sonance of  the  tone,  the  third  the  purity  of  the  white 
glaze. 

The  bowls  most  highly  esteemed  for  tea  were  the 
white  bowls  of  Hsing-chou,  now  Shun-te-fu,  in  the 
province  of  Chihli,  and  the  blue  bowls  of  Yueh-chou, 
the  modern  Shao-hsing-fu,  in  Chehkiang.  They  both 
rang  with  a  clear  musical  note,  and  are  said  to  have  been 
used  by  musicians,  in  sets  of  ten,  to  make  chimes,  be- 
ing struck  on  the  rims  with  little  rods  of  ebony. 

Arab  trade  with  China  flourished  during  the  eighth 
and  ninth  centuries,  when  Mohammedan  colonies  set- 
tled in  Canton  and  other  Seaport  towns.  One  of  the 
Arabian  travellers  named  Soleyman  wrote  an  account 
of  his  journey,  which  has  been  translated  into  French, 
and  which  gives  the  first  mention  of  porcelain  outside 
China.     He  says: 

"They  have  in  China  a  very  fine  clay  with  which  they  make 
vases  which  are  as  transparent  as  glass ;  water  is  seen  through  them. 
These  vases  are  made  of  clay." 

The  Arabs  at  this  time  were  well  acquainted  with 

1 


HISTORICAL  INTRODUCTION 

glass,  and  could  hardly  have  mistaken  the  material, 
so  that  their  evidence  is  of  special  value. 

Passing  on  to  the  Emperor  Shih  Tsung  (954-959) 
of  the  Posterior  Chou,  a  brief  dynasty  established  at 
K'ai-feng-fu  just  before  the  Sung,  we  have  a  glimpse 
of  a  celebrated  production  known  afterwards  as  Ch'ai 
yao,  Ch'ai  being  the  name  of  the  reigning  house. 
The  porcelain  was  ordered  at  this  time  by  imperial 
rescript  to  be: 

"As  blue  as  the  sky,  as  clear  as  a  mirror,  as  thin  as  paper,  and 
as  resonant  as  a  musical  stone  of  jade." 

This  eclipsed  in  its  delicacy  all  that  preceded  it. 
Fragments  were  mounted  in  gold  and  worn  as  jewels, 
but  it  soon  became  so  rare  that  it  was  described  as  a 
phantom. 

The  various  delicate  wares  referred  to  in  the  above 
extracts  have  all  probably  long  since  disappeared, 
and  we  must  be  content  with  literary  evidence  of  their 
existence.  The  Chinese  delight  in  literary  research, 
as  much  as  they  fear  to  disturb  the  rest  of  the  dead 
by  digging  in  the  ground,  so  that  we  have  no  tangible 
proof,  so  far,  of  the  occurrence  of  true  porcelain,  and 
can  only  hope  for  the  future  appearance  of  an  actual 
specimen  of  early  date.  Still  we  may  reasonably  ac- 
cept the  conclusion  of  the  best  native  scholarship  that 
porcelain  was  first  made  in  the  Han  dynasty,  without 
trying,  as  Stanislas  Julien  has  tried  on  very  insuffi- 
cient grounds,  to  fix  the  precise  date  of  its  invention. 

CLASSIFICATION    OF    CHINESE    PORCELAIN 

A  correct  classification  should  be  primarily  chron- 
ological, and  the  specimens  should  be,  secondarily, 
grouped  under  the  headings  of  the  localities  at  which 
they  were  produced,  and,  thirdly,  each  group  may  be 
subdivided,  if  necessary,  according  to  the  fabric, 
technique,  and  style  of  decoration  of  the  pieces  of 

li 


HISTORICAL  INTRODUCTION 

which  it  is  composed.  Perhaps  it  may  be  permitted 
here  to  sum  up  results,  and  to  refer  those  interested  in 
the  subject  to  my  too  bulky  Oriental  Ceramic  Art  for 
further  details  and  references  to  better   authorities. 

Beginning  with  the  Sung  dynasty,  which  reigned 
from  960  to  1280,  when  it  was  overthrown  by  Kublai 
Khan,  the  grandson  of  the  famous  Genghis  Khan,  and 
the  founder  of  the  Yuan  dynasty,  which  ruled  China 
till  it  was  in  its  turn  succeeded  by  the  native  Ming 
dynasty  in  the  year  1368,  we  have  a  ceramic  period 
marked  generally  by  the  primitive  aspect  of  its  pro- 
ductions. Actual  specimens  of  the  time  are  now 
available  for  comparison  with  the  descriptions  of  the 
writers  on  porcelain,  and  the  illustrations  of  the  artists 
in  the  old  albums  which  have  come  down  to  us.  The 
most  useful  of  these  last  is  the  album  of  the  sixteenth 
century,  in  four  volumes,  from  the  Peking  library  of 
the  hereditary  Princes  of  Yi,  described  by  me  in  the 
Journal  of  the  Peking  Oriental  Society  for  1886,  which 
has  been  often  cited  since.  This  album,  entitled  Li  tai 
ming  ti'a  t'ou  p'u  (Illustrated  Description  of  the  cele- 
brated Porcelain  of  different  Dynasties),  was  the 
work  of  Hsiang  Yuan-p'ien,  a  well-known  connoisseur 
and  collector  of  his  time,  and  its  eighty-three  illus- 
trations were  drawn  and  colored  by  himself.  The 
seal  in  antique  script  of  Mo-lin  Shan  jen  attached  to 
his  preface,  gives  his  literary  title,  "A  dweller  in  the 
hills  of  Mo-lin,"  and  is  identical  with  the  vermilion 
stamp  with  which  Hsiang  guarantees  as  a  critic, 
the  early  picture  of  Ku  K'ai-chih  now  in  the  British 
Museum. 

The  ceramic  productions  of  the  Sung  and  Yuan  dy- 
nasties are  rightly  classed  together  by  M.  Grandidier, 
whose  classification  it  is  proposed  to  follow  here,  ar- 
ranged as  it  is  in  chronological  order  after  a  Chinese 
model.  It  comprises  five  fairly  well  marked  ceramic 
classes,  and  as  a  rule  it  will  not  be  found  difficult  to 

Hi 


HISTORICAL  INTRODUCTION 

decide  from  the  style,  from  the  method  of  decoration, 
or  from  the  colors  employed,  to  which  class  a  parti- 
cular piece  belongs. 

CHRONOLOGICAL  CLASSIFICATION 

1.  Primitive  Period,  including  the  Sung  dynasty 
(960-1279)  and  the  Yuan  dynasty  (1280- 1367). 

2.  Ming  Period,  comprising  the  whole  of  the  Ming 
dynasty  (1368- 1643). 

3.  K'ang-hsi  Period,  extending  from  the  fall  of 
the  Ming  dynasty  to  the  close  of  the  reign  of 
K'ang-hsi  (i  662-1 722). 

4.  Yung-cheng  and  Ch'ien-lung  Period  (1723- 
1795),  the  two  reigns  being  conjoined. 

5.  Modern  Period,  from  the  beginning  of  the 
reign  of  Chia-ch'ing  to  the  present  day. 

The  above  table  is  simple  and  practical,  and  it  may 
be  used  in  combination  with  a  second  table  compiled 
with  some  modifications  and  additions  from  the  ex- 
cellent Catalogue  of  the  Franks  Collection  of  Oriental 
Porcelain  and  Pottery  (2nd  Edition,  1878)  issued  by 
the  Science  and  Art  Department  of  the  Committee  of 
Council  on  Education,  which  furnishes  a  scheme  of 
the  varied  methods  of  decoration  employed  during  the 
period  comprised  in  the  first,  or  chronological  table. 

Class  I.    Not  painted. 

Section  A.     Plain  white. 

"        B.     Single  colored  glazes,  not  crackled. 
"       C.     Crackled  glazes. 
"       D.    Flambd  glazes. 
E.     Souffle  glazes. 
"       F.     Glazes  of  several  colors. 
Class  II.  Painted  in  colors. 

Section  A.  In  underglaze  colors. 

1.  Cobalt  blue. 

2.  Copper  red. 

3.  Celadon. 

4.  Different  colors  in  combination. 

liii 


HISTORICAL  INTRODUCTION 

Class  II.     Painted  in  Colors. — Continued. 
Section  B.  In  overglaze  colors. 

1.  Iron  red. 

2.  Sepia. 

3.  Gold. 

4.  Two  or  more  colors. 

"       C.  In  underglaze  and  overglaze  colors  combined. 
"       D.  Single  colored  grounds  decorated  in  colors. 

1.  In  white  slip  (over  blue  and  brown). 

2.  In  gold  (over  blue,  black,  and  red). 

3.  In  mixed  enamel  colors  on  crackled  or 

monochrome  grounds. 

4.  In  medallions  of  diverse  form. 
Class  III.  Special  Fabrications. 

Section  A.     Etched  patterns  and  embossed  designs. 

B.  Open-work  or  reticulated. 

C.  Open-work  filled  in  with  glaze  ("grains  of  rice"). 

D.  Imitations  of  other  materials — agate,   marble, 

and   other   stones,    patinated    bronze,    veined 
wood,  carved  cinnabar  lac,  etc. 
"       E.     Lacque  burgautee. 
Class  IV.  Foreign  designs. 
Section  A,     Plain  white. 
"       B.     Painted  in  blue. 

C.     Painted  in  enamel  colors. 
"       D.     Decorated  in  Europe. 

The  productions  of  the  Sung  dynasty  come  entirely 
under  Class  I.  of  the  above  Table,  being  covered  gen- 
erally with  glazes  of  single  colors,  either  of  uniform  or 
mottled  tint,  and  exhibiting  either  plain  or  crackled 
surfaces.  Among  the  monochrome  glazes  are  found 
whites  of  various  tones,  grays  of  bluish  or  purplish 
tints,  greens  from  pale  sea-green  celadon  to  deep  olive, 
browns  from  light  chamois  to  dark  shades  approaching 
black,  bright  red,  and  dark  purple.  Especially  no- 
table are  the  pale  purple,  often  splashed  over  with  red; 
the  brilliant  grass-greens  of  the  Lung-ch'tian  porcelain, 
called  ts'ung-lu,  or  "onion-green"  by  the  Chinese; 
the  yueh-pai,  or  "clair  de  lune,"  a  pale  gray-blue,  and 
the  deep  purple,  or  aubergine  {ch'ieh  ^u),  of  the  Chiin- 

liv 


HISTORICAL  INTRODUCTION 

chou  wares;  these  last  kilns  were  also  remarkable  for 
the  brilliance  of  their  yao-pien,  or  "transmutation" 
mottled  tints,  due  to  the  varied  degrees  of  oxidation 
of  the  copper  silicates  in  the  glaze.  Polychrome  dec- 
oration at  this  period,  which  is  rare,  comes  under  the 
heading  of  Class  I.,  Section  F,  consisting  as  it  does,  of 
glazes  of  different  colors  applied  sur  biscuit.  A  prom- 
inent example  of  this  method  of  decoration  in  glazes 
of  several  colors  is  the  celebrated  image  of  Kuan  Yin 
enshrined  in  the  Buddhist  temple  Pao-kuo-ssu  at 
Peking,  the  early  date  of  which,  the  thirteenth  century 
of  our  era,  is  authenticated  by  the  records  of  the  mon- 
astery. Painted  decoration  was  still  more  sparingly 
employed,  although  we  learn  from  Ko  ku  yao  lun* 
that  in  the  province  of  Chihli,  both  the  Ting-chou 
and  Tz'ii-chou  porcelains  of  the  time  were  occasionally 
painted  with  ornamental  designs  in  brown.  Cobalt 
blue,  it  is  recorded  in  the  annals,  was  brought  to  China 
by  the  Arabs  as  early  as  the  tenth  century,  and  was 
first  used,  probably,  in  the  preparation  of  colored 
glazes,  as  we  know  nothing  of  painting  in  blue  under 
the  glaze  until  the  Yuan  dynasty.  The  earliest  "blue 
and  white"  dates  from  the  thirteenth  century,  when 
the  technical  process  of  painting  in  cobalt  on  the  raw 
body  of  the  porcelain  seems  to  have  been  introduced, 
perhaps,  from  Persia,  where  it  had  long  been  used  in 
the  decoration  of  tiles  and  other  articles  of  faience, 
although  porcelain  proper  was  unknown  to  the  Per- 
sians, except  as  an  importation  from  China. 

There  were  many  potteries  in  China  during  the  Sung 
dynasty,  but  Chinese  writers  always  refer  first  to  four 
kinds  of  ceramic  production  (yao)  as  the  principal, 
vi^.,  Ju,  Kuan,  Ko,  and  Ting;  placing  the  celadon 
ware  of  Lung-ch'iian  and  the  flambe  faience  of  Chiin- 

*  A  learned  work  on  antiquities,  literary  and  artistic,  in  13  books, 
by  Tsao-ch'ao,  published  in  the  year  1387. 

Iv 


HISTORICAL  INTRODUCTION 

chou  next:  and  relegating  the  other  minor  factories, 
which  may  be  neglected  here,  to  an  appendix. 

The  Ju  yao  was  the  porcelain  made  at  Ju-chou, 
now  Ju-chou-fu,  in  the  province  of  Honan.  The  best 
was  blue,  rivalling,  we  are  told,  the  azure-tinted  blos- 
soms of  the  Vitex  incisa  shrub,  the  "sky  blue  flower" 
of  the  Chinese,  and  carrying  on  the  tradition  of  the 
celebrated  Ch'ai  yao  of  the  preceding  dynasty,  which 
was  made  in  the  same  province.  The  glaze,  either 
crackled  or  plain,  was  often  laid  on  so  thickly  as  to 
run  down  like  melted  lard,  and  end  in  an  irregularly 
curved  line  before  reaching  the  bottom  of  the  piece. 

The  Kuan  yao  was  the  "imperial  ware"  of  the  Sung 
dynasty,  kuan  meaning  "oificial,"  or  "imperial,"  and 
the  name  is  still  applied  to  the  productions  of  the  im- 
perial potteries  at  Ching-t^-chen.  The  first  imperial 
manufactory  in  the  Sung  dynasty  was  founded  early 
in  the  eleventh  century  at  the  capital  Pien-chou,  the 
modern  K'ai-feng-fu.  A  few  years  later  the  dynasty 
was  driven  southward  by  the  advancing  Tartars, 
and  new  factories  had  to  be  founded  in  the  new  capital 
the  modern  Hang-chou-fu,  to  supply  table  services  for 
the  palace.  The  glazes  of  the  early  Kuan  yao  were  rich 
and  unctuous,  generally  crackled,  and  imbued  with 
various  monochrome  tints  of  which  yueh-pai,  or  clair 
de  lune  was  the  most  highly  esteemed  of  all,  followed 
by  fen-ch'ing,  "pale  purple,"  ta-lii,  "emerald  green" 
(literally  gros  vert),  and  lastly  hui-se,  "gray."  The 
Hang-chou  Kuan  yao  was  made  of  a  reddish  paste 
covered  with  the  same  glazes,  and  we  constantly  meet 
with  the  description  of  bowls  and  cups  with  iron-col- 
ored feet  and  brown  mouths  where  the  glaze  was 
thinnest.  A  curious  characteristic  of  all  the  above 
glazes  consists  of  fortuitous  blotches  of  red,  due  to 
oxidation  in  the  kiln,  contrasting  vividly  with  the 
color  of  the  surrounding  ground.  These  blotches 
occasionally  take  on  accidentally  the  shape  of  butter- 

Ivi 


HISTORICAL  INTRODUCTION 

flies  or  some  other  natural  form,  when  they  are  classed 
as  a  variety  of  yao-pien,  or  "furnace-transmutation." 
The  ordinary  Yuan  t^'u,  or  "Yuan  (dynasty)  porce- 
lain" of  Chinese  collectors  resembles  generally  the 
imperial  ware  of  the  Sung  dynasty,  being  fashioned 
in  the  same  lines,  and  only  diflFering  in  comparative 
coarseness  and  inferior  technique,  so  that  it  need  not 
delay  us  further. 

The  Ko  yao  of  the  Sung  dynasty  was  the  early 
crackled  ware  fabricated  by  a  potter  named  Chang 
the  Elder,  a  native  of  Liu-t'ien,  in  the  jurisdiction  of 
Lung-ch'iian-hsien,  in  the  twelfth  century  of  our  era. 
The  early  Ko  yao  was  distinguished  especially  for 
its  crackling,  looking  as  if  it  were  "broken  into  a  hun- 
dred pieces"  (po-sui),  or  "like  the  roe  of  a  fish"  {yii-tiu) 
— the  French  truitee.  The  principal  colors  of  this 
crackled  glaze  were  fen-ch'ing,  or  "pale  purple"  due 
to  manganiferous  cobalt,  and  mi-se,  or  "millet-col- 
ored," a  bright  yellow  derived  from  antimony.  Such 
was  the  original  Ko  yao;  the  name  has  since  been 
extended  to  include  every  kind  of  porcelain  covered 
with  crackled  monochrome  glazes  in  all  shades  of 
celadon,  gray,  and  white.  The  old  crackled  ware 
was  highly  prized  in  Borneo  and  other  islands  of  the 
Eastern  Archipelago  as  far  east  as  Ceram,  and  it  fig- 
ures largely  among  the  relics  of  ancient  Chinese  por- 
celain brought  to  our  museums  from  these  parts. 

The  Ting  yao  was  made  at  Ting-chou  in  the  prov- 
ince of  Chihli.  The  main  out-turn  was  white,  but  one 
variety  was  dark  reddish  brown,  and  another,  very 
rare,  as  black  as  lacquer.  The  white  was  of  two  classes : 
the  first  called  Pai  Ting,  or  Fen  Ting,  being  as  white 
as  flour;  the  second  called  T'u  Ting,  of  a  yellowish 
clayey  tint.  This  porcelain,  of  delicate  resonant  body, 
invested  with  a  soft-looking  fluent  glaze  of  ivory-white 
tone,  is  probably  more  common  in  collections  than 
any  other  of  the  Sung  wares.    The  bowls  and  dishes 

Ivii 


HISTORICAL  INTRODUCTION 

were  often  fired  bottom  upwards,  and  the  delicate 
rims,  left  unglazed,  were  afterwards  mounted  with 
copper  rims  to  preserve  them  from  injury.  Some  were 
clothed  in  plain  white,  the  glaze  collecting  outside  in 
tear-drops;  others  were  engraved  at  the  point  in  the 
paste,  with  ornamental  patterns;  a  third  class  was  im- 
pressed inside  with  intricate  and  elaborate  designs  in 
pronounced  relief,  the  principal  ornamental  motives 
being  the  tree  peony,  lily  flowers,  and  flying  phoenixes. 

The  Lung-ch'ilan  yao,  which  comes  next  for  notice, 
is  the  far-famed  celadon  ware  made  at  this  time  in  the 
province  of  Chekiang,  the  ch'ing  t^'ii,  or  "green  por- 
celain" ^dir  excellence,  of  the  Chinese,  the  seiji  of  the 
Japanese,  the  martabani  of  the  Arabs  and  Persians. 
There  is  a  lordly  pile  of  literature  on  the  "celadon 
question"  in  all  its  bearings,  and  the  field,  interesting  as 
it  is,  can  hardly  be  labored  further  here.  The  Lung- 
ch'iian  porcelain  of  the  Sung  dynasty  is  distinguished 
by  its  bright  grass-green  hue,  which  the  Chinese  liken 
to  fresh  onion  sprouts,  a  more  pronounced  color 
than  the  grayish-green,  or  "sea-green,"  of  later  cela- 
dons. 

The  Chiin  yao  was  a  kind  of  faience  made  at  Chiin- 
chou,  now  Yii-chou,  in  the  province  of  Honan.  The 
glazes  were  remarkable  for  their  brilliancy  and  for  their 
manifold  varieties  of  color,  especially  the  transmu- 
tation flambes,  composed  of  flashing  reds,  passing 
through  every  intermediate  shade  of  purple  to  pale 
blue,  which  have  hardly  been  equalled  since.  The 
great  variety  of  glaze  colors  turned  out  here  in  for- 
mer times  may  be  gathered  from  a  list  of  old  Chiin- 
chou  pieces  sent  down  from  the  palace  to  be  repro- 
duced at  the  imperial  potteries  at  Ching-te-chen  in 
the  reign  of  Yung-cheng,  the  list  comprising  (i)  rose 
crimson,  (2)  pyrus  japonica  pink,  (3)  aubergine  purple, 
(4)  plum  color,  (5)  mule's  liver  mixed  with  horse's 
lung,  (6)  dark  purple,  (7)  yellow-millet  color  (mi-se), 

Iviii 


HISTORICAL  INTRODUCTION 

(8)  sky  blue,  (9)  furnace  transmutations  (yao-pien), 
or  flambes.  These  were  all  reproduced  in  due  course 
during  the  first  half  of  the  eighteenth  century  on  por- 
celain, and  the  new  white  body  was  in  marked  contrast, 
we  are  told,  with  the  sandy,  ill-levigated  paste  of  the 
original  pieces. 

The  only  remaining  porcelain  ware  of  the  Sung  dy- 
nasty which  requires  a  word  of  notice  is  the  Chien  yao, 
produced  in  the  province  of  Fuhkien,  where  the  black- 
enamelled  cups  with  spreading  sides,  so  highly  appre- 
ciated for  the  tea  ceremonial  of  the  time,  were  made. 
The  lustrous  black  coat  of  these  cups  was  speckled  and 
dappled  all  over  with  spots  of  silvery  white,  simulating 
the  fur  of  a  hare  or  the  breast  of  a  gray  partridge, 
hence  the  names  of  "hare's  fur  cups,"  and  "partridge 
cups,"  given  them  by  connoisseurs.  These  little 
tea  cups  were  valued  also  by  the  Japanese  at  immense 
prices,  and  were  mounted  by  them  with  silver  rims  and 
cunningly  pieced  together  when  broken  with  gold 
lacquer. 

The  more  recent  Chien  yao,  it  must  be  noted,  which 
has  been  fabricated  since  the  time  of  the  Ming  dynasty 
at  Te-hua,  in  the  same  province,  is  altogether  different 
from  the  Chien  yao  of  the  Sung  which  has  just  been 
described,  being  the  velvety  white  porcelain  sometimes 
known  as  hlanc  de  Chine. 

MING    DYNASTY    ( I  368- 1 643) 

The  Ming  dynasty  is  famous  in  the  annals  of  Chinese 
ceramic  art,  which  made  such  great  advances  under 
its  rule  that  in  the  reign  of  Wan-li,  as  the  native 
writers  say,  there  was  nothing  that  could  not  be  made 
of  porcelain. 


lix 


MARKS  AND  SEALS 

THE  marks  on  Chinese  pottery  and  porcelain 
may  be  conveniently  classified  under  the 
headings: 

1.  Marks  of  date:  a,  regnal;  b,  cyclical. 

2.  Hall-marks. 

3.  Marks  of  dedication  and  good  wishes. 

4.  Marks  in  praise  of  the  piece  inscribed. 

5.  Symbols  and  other  pictorial  marks. 

6.  Potter's  marks. 

The  following  lists  are  not  intended  to  be  exhaustive, 
being  only  a  selection  of  such  marks  as  are  likely  to  be 
most  useful  to  the  collector.  For  fuller  lists  I  may 
perhaps  be  permitted  to  refer  the  inquirer  to  my 
"Oriental  Ceramic  Art,"  a  copy  of  which  is  at  hand 
for  reference  in  the  Library  of  the  Museum. 

I. — MARKS  OF  DATE 

The  Chinese  have  two  methods  of  indicating  a  date. 
First,  by  the  nien-hao,  or  name  given  to  the  reign  of  an 
emperor;  second,  by  a  cycle  of  sixty  years.  The  nien- 
hao  is  selected  for  the  regnal  title  after  the  emperor 
has  ascended  the  throne  and  dates  from  the  beginning 
of  the  first  new  year  after  his  accession.  It  is  an 
epithet  of  good  augury  culled  from  some  classical  text, 

Ix 


HISTORICAL  INTRODUCTION 

like  the  title  of  the  reigning  emperor  Kuang-hsii, 
which  means  "Inherited  Lustre."  The  regnal  title 
was  frequently  changed  under  the  older  dynasties,  but 
since  the  accession  of  the  Ming  dynasty  in  1368,  there 
has  been  only  one  instance  of  such  a  change,  when  the 
emperor  Cheng-t'ung  returned  after  seven  years  of 
exile  and  changed  the  nien-hao  to  T'ien-shun. 

Chinese,  it  is  well  known,  is  read  from  right  to  left, 
and    from    above    downwards.      The    "six-character 
mark"  is  usually  written  in  two  columns,  composed  as 
follows  : — Two  characters  signifying  the  dynasty,  two 
the   nien   hao,    and    two    more    meaning 
"period"  and  "made."    This  is  a  six-char-     i&^     4- 
acter  mark  of  the  Emperor  Hsiian-te.    It 
reads  Ta  Ming  Hsiian-te  nien  chih  (Great     .sE.     ^fl 
Ming   Hsuan-te  period  made).     But  it  is  ^ 

occasionally  written  in  one  horizontal  line,  "^  ^ 
as  seen  in  several  of  the  Ming  pieces  in  the  "^^  "~* 
collection.  The  "four -character  mark"  has  the  dy- 
nasty omitted,  so  that  it  commences  with  the  nien- 
hao.  The  seals  are  similar  combinations  of  characters, 
but  penciled  in  an  archaic  script,  commonly  known  as 
the  seal  character.  The  third  form  of  Chinese  writing, 
the  "grass  text,"  or  cursive  hand,  is  seldom  seen  except 
in  potters'  marks  impressed  on  Fuchien  white 
porcelain. 

a.    REGNAL  DATES 

The  regnal  titles  usually  found  are:— 

MING    DYNASTY 


^    ^        f  i         ^1     -^   A 


t    ^ 


IE  ^ 


3C      ^  ?1^    1^  4 


HUNG    WU  CHIEN-WEN  YUNG  LO 

(1368-1398)  (1399-1402)  (1403-1424) 

Ixi 


HISTORICAL  INTRODUCTION 


1 1 


i5^0ii 


fi 


n-nSJSczd 


HSiJAN  T^ 
(1426-1435) 


t  ^ 

ch'^ng  hua 
(1465- 1487) 


^  ^ 


^ 


ch'^ng  hua 
(1465-1487) 


^ 
«li^ 


»vn 


HUNG  CHIH 
(1488- 1 505) 


CH^NG  rt 

(I506-I52I) 


^* 

CHIA  CHING 
(1522- 1 566) 


4     fl>a 

LUNG  CH'iNG 
(1 567- 1  572) 


WAN  LI 
(1573.1619) 


t'ien  ch'i 
(1621-1627) 

Ixii 


4; 


CH'uNG  CHEN 
(1628-1643'! 


HISTORICAL  INTRODUCTION 

MANCHU,  OR  CH'ING  DYNASTY 


t  m 


m 


K\\ 


SHUN  CHIH 
(1644-1661) 


21 


!«* 


rw 


YUNG  ChIng 
(1723-1735) 


iim 


i  t.t  - 


"K?, 


¥ 


K  ANG  HSI 
(1662- 1 722) 


tit 


11 


CH  I  EN  LUNG 
(1736-1795) 


4lf    $. 


11 


YUNG  CH^NG       CH'iEN  LUNG 

Made  by  order  of      (1736-1795) 
the  Emperor  (yil) 


4  t    iiHH 


iifii 
i 


t  it  I 


ns{ 


TAO  KUANG 

(1821-1850) 


CHIA  CH  ING 
(1796-1820) 


HSIEN  F^NG 
(1851-1861) 


Ixiii 


HISTORICAL  INTRODUCTION 


;4  A 


mm 
mi 


A 


T  UNO  CHIH 

(1862- I 874) 


KUANG  HSU 
1875  (reigning  emperor) 


^  b.  CYCLICAL  DATES 

In  the  first  of  the  four  figured  below  (Ch'eng-hua, 
first  year)  and  the  last  (T'ung-chih,  twelfth  year), 
the  cyclical  date  is  added  to  the  regnal  year.  The  sec- 
ond, which  occurs  on  e3.r\yfamille  rose  pieces,  indicates 
the  recurrence  of  the  cyclical  date  under  K'ang-hsi, 
who  reigned  over  sixty  years.  The  third  is  doubtful, 
in  that  the  number  of  the  cycle  is  omitted.  The  pres- 
ent cycle,  which  began  in  1864,  is  reckoned  the  76th  in 
the  Chinese  official  scheme  of  chronology,  and  the 
porcelain  with  this  mark  was  referred  to  the  74th  cycle 
from  its  style  and  decoration. 

n 

%^. 

Cyclical  Year 
kuei  yu 

(1873) 


Cyclical  Year 
i-yu 
('465) 


Cyclical  Year 

hsin  cb'ou  recurring 

(1721) 


Cyclical  Year 
ping  bsu 
(1766?) 


-HALL   MARKS 


There  are  many  varieties  of  hall  marks  in  which 
the  characters  fang  (hall),  chii  (retreat),  chai  (pavil- 
ion), and  the  like  occur.    They  usually  indicate  the 


Ixiv 


HISTORICAL    INTRODUCTION 

factory;  but  some  represent  the  studio,  or  nom  de 
plume,  of  the  artist-decorator;  and  others  the  hall  of 
the  person  for  whom  the  porcelain  has  been  made,  or 
the  imperial  pavilion  for  which  it  was  destined.  A 
curious  example  of  the  last  kind  is  found  below,  in- 
scribed Ta  Ya  Chai  (Pavilion  of  Grand  Culture),  the 
name  of  one  of  the  new  palaces  of  the  Empress  Dow- 
ager at  Peking,  in  connection  with  her  motto  T'ten  ii 
yi  chia  ch'un,  (Springtime  in  heaven  and  earth — one 
family),  which  is  framed  with  a  pair  of  dragons  pur- 
suing the  flaming  jewel  of  omnipotence.  The  next 
seal  mark,  taken  from  a  large  circular  dish,  decorated 
in  colors  with  Imperial  dragons  and  storks,  gives  the 
name  of  the  principal  palace  of  the  Empress  Dowager; 
and  the  following  taken  from  a  round  box  for  seal 
vermilion  of  the  reign  of  Chia-ch'ing  (1796-1820),  is 
inscribed  with  the  palace  hall  devoted  to  the  meetings  of 
the  Hanlin  College. 


t  m 


ch'u  shun  mei  yO 

t'ang  chih 
"Made  at  the  Ch'ii  Shun 
(Abundant    Prosperity) 
Hall  of  Beautiful  Jade" 

1  YU  t'ang  chih 

"Made  at  the  Ductile 

Jade  Hall" 


t  k 

TA  SHU  t'ang  chih 

"Made  at  the  Big 
Tree  Hall" 


it 


ch'iyu  t'ang  chih 
"Made  at  the  Rare 
Jade  Hall" 


•f 


I  YU  t'ang  chih  YANG  HO  t'aNG  CHIH 

"  Made  at  the  Hall  of  "  Made  at  the  Hall  for  the 

Profit  and  Prosperity"  Cultivation  of  Harmony" 

Ixv 


HISTORICAL  INTRODUCTION 


sh6n  t6  t'ang  chih 

"Made  at  the  Hall  of 

Careful  Virtue" 


YU  CHAI 
"The  Quiet  Pavilion' 


m 


# 

^-r^^ 


$ 
^ 


•t 


TS  AI  JUN  T  ANGCHIH 

"Made  at  the  Hall  of 
Brilliant  Colors" 


YUAN  wfeN  WU  KUO  LU  YI  t'aNG 

CHIH  CHAI 

"Pavilion  where  I  wish  "The  Hall  of  Waving 
to  hear  of  my  faults"  Bamboos" 


/5/5 


CHU  SHIH  CHU       HSIEH  CHU  TSAO     HSIEH  CHU  CHU    WAN  SHIH  CHU 

" The  Red  Rock    "Made  for  the  Hsieh       J  tN  TS AO  " The  Myriad 

Retreat"                Bamboos"           "Made  for  the  Rocks  Retreat" 

Lord  of  the  Hsieh 
Bamboos" 


n 


SHU  FU 

"Imperial  Palace" 
Mark  of  the  Yuan 
dynasty  (1280-1367) 


TA  YA  CHAI 

Hall-mark  and  Motto 

of  the  reigning  Empress 

Dowager  (see  above) 

Ixvi 


If* 

KU  YUEH  HSUAN  CHIH 
"Made  at  the  Ancient 
Moon  Terrace."    17th 
century  mark  on  glass 


HISTORICAL  INTRODUCTION 


ch'u  hsiu  kung  chih 
"  Made  for  the  Ch'u  Hsiu  Kung,  the  prin- 
cipal palace  of  the  Empress  Dowager" 


MU  CH  IN  TIEN 

'  Palace  Hall  of  Great 
Diligence" 


-MARKS    OF    DEDICATION    AND    GOOD    WISHES 


^ 
i 


TA  CHI 

'Great  Good- 
luck" 


■k^i^ 


^l 


t 


WAN  SHOU  WU  CHIANG  ^^ 

"A  myriad  ages  never 
ending" 


I 


121 


yung  ch  ing 
ch'ang  ch'un 
"  Ever  flourish- 
ing, enduring 
spring!" 


5r< 


m 


FU  LU  SHOU 

"  Happiness,  Rank 
and  Longevity" 


^ 


CH  ANG  MING  FU  KUEI 

"  Long  Life,  Riches,  and 

Honor!" 

Ixvii 


FU  KUEI  CH'aNG  CH'uN 

"  Riches,  Honor  and 

Enduring  Spring!" 


HISTORICAL  INTRODUCTION 


»1*    3tL 
4    # 


W^N  CHANG  SHAN  TOU      CH'iNG 

"Scholarship  high  as      "Congratu- 
the  mountains  and  the        lations"- 
Great  Bear!" 


SHOU  TI  NAN  SHAN, 

FU  JU  TUNG  HAI 

'  Long-lived  as  the  Southern 

hills,  happy  as  the  Eastern 

seas" 


SHOU  CHI  HSIANG  JU  I 

"Longevity"    "Good  fortune  and 
A  curious  form,  fulfilment  of  wishes" 
known     in     Hol- 
land as  the  Spider 
mark 


KUNG  MING  FU  KUEI, 

HUNG  FU  CH'i  t'iEN 

'A  famous  name,  riches  and  honor, 

abounding  happiness  reaching 

to  heaven!" 


rt  hua  ch'ang  ch'un. 
"Virtue,  Culture,  and  En- 
during Spring" 

WAN  Ll  NIEN  TSAO 

"Made  in  the  reign  of 
Wan  U". 


CHIH 

"  By  Imperial 

Order". 


4^ 

SHAUNG  HSI 

"  D o u bl e,    or 
Wedded  joy" 
Inscribed  on 
bridal  presents 


BARAGON 

TUMED 

"  For  the 
Princess  of 
the  West 
Wing  of  the 
Turned  Mon- 
golian Ban- 
ners". 


Ixviii 


HISTORICAL  INTRODUCTION 
4. — MARKS  IN  PRAISE  OF  THE  PIECE  INSCRIBED 


J. 

-4- 

3t 

Jl^ 

YU 

KU 

WfeN 

ch£n 

Jade"' 

"Ancient" 

"Artistic" 

"Precious,  a  Gem' 

li  -t 


A 

• 

3EX- 

J. 

^    •£ 

S. 

CHEN  YU 

CH'i  YU  PAO  TING  CHIH  CH^N 

WAN  YU 

True  Jade" 

"A  Gem  among  precious 
vessels  of  rare  jade" 

"Trinket  Jade' 

m 

c  ;5 

f> 

^ 

*^f 

It 

YA  WAN 

CH'i  SHIH  PAO  TING  CHIH  CH^N 

CH^N  WAN 

"Artistic 

"A  gem  among  precious  vessels 

"  Precious 

Trinket" 

of  rare  stone" 

Trinket" 

CH'i  CH^N  JU  YU 

'  Rare  and  precious  Jade' 


^1  ^ 


TSAI  CH'u  AN  CHIH  LO 

'I  know  that  they  (i.  e.  fishes) 

rejoice  in  the  water" 


Ixix 


HISTORICAL  INTRODUCTION 


SHAN  KAO,  SHUI  CHANG        HSI  CH'AO  CHI  WAN  CHIH  CH^N 

"The  mountains  are  high,  "A  gem  among  rare  trinkets 

the  rivers  long"  of  a  joyful  reign" 


5. — SYMBOLS  AND  OTHER  PICTORIAL  MARKS 

The  Chinese  have  a  special  fancy  for  devices,  and  use 
them  in  conventional  groups  for  the  decoration  of  por- 
celain as  well  as,  singly,  as  marks.  They  may  be  con- 
veniently arranged  in  five  sub-divisions: 

{a.)  Symbols  of  ancient  Chinese  lore.  The  eight  tri- 
grams  of  divination  {pa  kua),  and  the  dualistic 
yin-yang  symbol.  The  eight  musical  instruments 
{pa  yin).  The  twelve  ornaments  {shih-erh  chang) 
embroidered  on  sacrificial  robes. 

(b.)  Buddhist  Symbols. — The  eight  emblems  of  happy 
augury  {pa  chi  hsiang).  The  seven  parapher- 
nalia {ch'i  pao)  of  a  chakravartin,  or  universal 
sovereign. 

{c.)  Taoist  Symbols. — The  eight  attributes  {pa  an 
hsien)  of  the  immortal  genii,  vi^.,  the  fan  with 
which  Chung-li  Ch'uan  revives  the  souls  of  the 
dead;  the  sword  of  supernatural  power  wielded 
by  Lu  Tung-pin;  the  magic  pilgrim' s- gourd  of  Li 
T'ieh-kuai;  the  castanets  of  Ts'ao  Kuo-ch'iu;  the 
basket  of  flowers  carried  by  Lan  Ts'ai-ho;  the 
bamboo  tube  and  rods  of  Chang  Kuo;  the  flute  of 
Han  Hsiang  Tzu;  the  lotus-flower  of  Ho  Hsien  Ku. 
A  multitude  of  emblems  of  longevity,  the  sum- 
mum  bonum  of  the  Taoist,  such  as  the  deer,  tor- 
toise and  stork;  the  hare,  pounding  the  elixir 
vitce  in  the  moon;  the  pine,  bamboo,  and  prunus; 

Ixx 


HISTORICAL  INTRODUCTION 

the  peach  as  the  "fruit  of  Hfe,"  and  the  sacred 

magic  fungus  (Polyporus  lucidas),  etc. 
{d.)  The   hundred  antiques  {po  ku),  including   the 

eight  precious  objects  (pa  pao),  and  the  four  fine 

arts — music,  chess,  calHgraphy,  and  painting  {ch'in 

ch'i  shu  hud), 
{e.)  Devices  intended  to  be  read  in  "  Rebus"  fashion 

(see  below).    Two  sets  of  eight  which  have  just 

been  referred  to  follow  in  due  order. 


PA  PAG. — THE  EIGHT  PRECIOUS  THINGS 


CHU 

A  Jewel 


CH  lEN 

A  "cash" 


FANG-SH^NG 

A  Lozenge,  symbol  of  victory 


SHU 

A  Pair  of  Books 


HUA 


A  Painting 


ch'ing 

CHUEH 

AI-YEH 

Hanging  Musical 

A  Pair  of  Rhinoceros- 

An  Artemisia  Leaf 

Stone  of  Jade 

horn  Cups 
Ixxi 

HISTORICAL  INTRODUCTION 


PA    CHI-HSIANG. — THE     EIGHT     BUDDHIST     EMBLEMS    OF 
HAPPY  AUGURY 


LUN 

Wheel,  enveloped  in  flames 


LO 

A  Conch-Shell 


SAN 

State  Umbrella 


P  ING 

Yij 

CHANG 

Vase 

A  Pair  of  Fish 

"  Entrails."  An  Endless 
Knot 

The  Swastika  Symbol 

inclosed  in  a  lozenge, 

with  fillets 


TING  FU 

Four-legged  Incense      One  of  the  1 2  ancient 
Burner  embroidery  orna- 

ments 


Ixxii 


HISTORICAL  INTRODUCTION 


LIEN  HUA  CHIAO  YEH  LING  CHIH 

'Lotus  Blossom"    A  "palm-leaf"  with  fillets    The  "sacred  fungus" 


MEI  HUA 

A  sprig  of  prunus  within  a  double  ring 


T  u 
The  "hare"  of  mythology 


(W^ 


FU  SHOU  SHANG  CH  UAN 
A  bat  and  two  peaches.  A  "  rebus  " 
reading   "Happiness  and  longevity 
both  complete  !  " 


PI  TING  JU  I 

A  brush-pencil,  a  cake  of  ink,  and  a 

jade  sceptre.       A  "rebus"  reading 

"  May  it  be  fixed  as  you  wish  !  " 


6. — potters'  MARKS 


Potters'  marks  are  comparatively  rare  in  China,  al- 
though very  common  in  Japan.  The  first  of  the  three 
which  follow  is  taken  from  an  archaic  crackle  vase  of 
grayish  tone  decorated  with  colored  glazes  of  the  Ming 
period:  it  is  read  in  inverse  fashion  from  left  to  right. 
The  next  two  are  marks  stamped  in  the  dark  brown 
paste  of  characteristic  flambe  vases  of  Kuang-yao  pot- 

Ixxiii 


HISTORICAL  INTRODUCTION 

tery,  which  are  sometimes  from  their  archaic  aspect  mis- 
taken for  productions  of  the  Sung  dynasty:  the  marks 
record  the  names  of  two  potters,  probably  brothers, 
who  are  said  to  have  hved  early  in  the  eighteenth  cen- 
tury. 

The  last  potter's  mark*  is  taken  from  an  eggshell 
tea-cup  in  the  collection,  and  gives  the  name  and  birth- 
place of  the  artist,  Yii-feng,  being  the  ancient  name  of 
the  modern  city  of  K'un-shan,  Hsien,  in  the  province  of 
Kiang-su.  His  studio  name  is  inscribed  on  the  accom- 
panying saucer,  being  Yu  Chai,  or  "Quiet  Pavilion" 
(see  above,  p.  Ixvi). 


WU  CH^N  HSIEN  YAO 

"  Pottery  of  Wu 

Chen-hsien" 


KO  MING  HSIANG  CHIH 
"Made  by  Ko 
Ming-hsiang" 


KOYUAN  HSINGCHIH 
"Made  by  Ko 
Yuan-hsiang" 


Vij  F^NG  YANG  LIN 
"  Vang  Lin  of  Yu-feng" 


The  seals  and  marks  given  above  are  generally  in- 
scribed underneath  the  feet  of  the  pieces.  There  is 
another  series  often  attached  to  inscriptions,  forming 
part  of  the  decoration  on  the  body  of  the  vase,  these 

*C/.  Burlington  Magazine  August  and  September,  1906. 

Ixxiv 


HISTORICAL  INTRODUCTION 

inscriptions  being  usually  tags  of  verse  on  the  subject 
illustrated,  or  perhaps  the  signature  and  date  of  the 
artist  who  has  painted  the  scene.  For  example,  the 
decorator  of  the  vase  (No.  865)  of  the  highest  quality 
painted  with  transparent  enamels  of  great  beauty  dates 
his  work: — "A  fortunate  day  in  the  shang-huan  dec- 
ade of  a  summer  month  in  the  cyclical  year  hsin  mao," 
which  would  correspond  to  A.D.  1711  of  our  calendar, 
as  it  is  certainly  a  production  of  the  K'ang-hsi  period. 
The  superb  eggshell  vases,  Nos.  464,  465,  which  have 
been  correctly  referred  to  the  reign  of  Yung-cheng,  are 
inscribed  with  the  date,  locality,  and  studio  name  of 
the  artist,  who  worked,  he  tells  us,  at  the  Chin  Shui 
T'ing,  or  "Water-side  Arbour,"  by  the  Pearl  River,  in 
the  cyclical  year  chi  yu,  i.e.,  A.D.  1729. 

The  next  inscription  occurs  on  the  inside  of  a  rose- 
backed  eggshell  plate  in  the  collection 
which  has  been  illustrated  in  the  ar-  %f^ 

tide  of  the  Burlington  Magazine,  just  (S^  ^ 

cited.    It  reads  "A  Ling  Nan  (Canton)  J 

painting,"  with  the  studio  name  of 
the  artist  attached.    This  artist's  sig-     '''''^  ^^"^  ""'  ^"f 

^  .      ,  r  ^,  A  Canton  Painting 

nature  is  known  from  other  sources,     (signed)   Tai   Sbih 
and  his  date  may  be  gathered  from         "White  Rock 
the  inscription  on  a  saucer  of  similar  (Studio)" 

style,   etched   by  Jules  Jacquemart, 
for  his   brother's  Histoire  de  la  Porcelaine  (PI.  VI II, 
Fig.  3),  which  is  headed  the  cyclical  year  Chia  Ch'en, 
i.e.,  A.D.  1724,  the  second  year  of  the  reign  of  the  em- 
peror Yung-cheng. 

The  last  inscription  for  which  we  have  room  is  also 
written,  within  a  foliated  panel,  in  the  midst  of  the 
blue  and  white  decoration.  It  is  remarkable  for  its 
length,  as  well  as  for  its  intrinsic  interest,  and  is  taken 
from  a  pair  of  portly  blue  and  white  pricket  candle- 
sticks, two  and  a  third  feet  high,  in  my  own  possess- 
ion, part  of  a.  wu  kung  altar  set,  which  was  specially 

Ixxv 


HISTORICAL  INTRODUCTION 


made  in  1741  as  an  ex  voto  offering  for  a  Taoist  temple 
near  Peking  by  T'ang  Ying,  the  celebrated  director  of 
the  imperial  porcelain  manufactory  at  Ching-te-chen. 


"Reverently  made  by  T'ang  Ying  of  Shen-yang,  a  Junior  Sec- 
retary of  the  Imperial  Household,  and  Captain  of  the  Banner,  pro- 
moted five  honorary  grades.  Chief  Superintendent  of  Works  in  the 
palace  Yang  Hsin  Tien,  Imperial  Commissioner  in  charge  of  the 
three  Customs  stations  of  Huai,  Su,  and  Hai,  in  the  province  of 
Kiangnan,  also  Director  of  the  Porcelain  Manufactory,  and  Com- 
missioner of  Customs  at  Kiu  Kiang,  in  the  province  of  Kiangsi; 
and  presented  by  him  to  the  Temple  of  the  Holy  Mother  of  the 
God  of  Heaven  at  Tungpa,  to  remain  there  through  time  everlast- 
ing for  oflFering  sacrifices  before  the  altar;  on  a  fortunate  day  in 
the  spring  of  the  sixth  year  of  the  Emperor  Ch'ien-lung." 

S.  W.  B. 


Ravensholt,  Harrow-on-the-Hill, 
20  November,  1906 


TABLE  OF  CONTENTS 

PAGE 

Preface  to  this  Edition    .     .     .  by  W.  M.  L. .     .  v 

Preface  to  the  First  Edition     .  by  W.  M.  L. .     .  vii 

Historical  Introduction       .     .  by  S.  W.  B.  .     .  xxi 

Table  of  Contents Ixxvii 

Catalogue i 


CATALOGUE 


CATALOGUE 


CASE  A 

1,2.  TWO  CLUB-SHAPED  VASES.  With  folia- 
ted white  reserves  containing  five-colored  decoration 
of  flowers,  blossoms,  etc.,  in  the  style  acquired  in  China 
by  Kakiyemon,  the  Japanese  potter,  and  followed  in 
European  porcelain  since  the  beginning  of  the  seven- 
teenth century. 
K'ang-hsi  (1662-1722).  Height  9  inches. 

3,  4.    TWO  FLASK-SHAPED  VASES  with  expand- 
ing cylindrical  necks.     With  reserves  containing  five- 
colored  floral  decoration  in  brilliant  transparent  enam- 
els. 
K'ang-hsi  (1662-1722).  Height  105^  inches. 

5,  6.    TWO  BOTTLES  with  bulbous  necks.    With 
reserves  containing  five-colored  decoration  of  flowers, 
blossoms,  etc. 
K'ang-hsi  (1662- 1722).  Height  9  inches. 

7  to  12.  GARNITURE  OF  SIX  POWDER-BLUE 
VASES,  four  cylindrical,  club-shaped,  and  two  ovoid 
with  Mandarin  covers.  With  reserves  containing 
landscapes,    arrangements   of   flowers,    plants,    birds. 


CASE    A]  THE    MORGAN    COLLECTION 

insects,  household  ornaments,  and  figures,  all  drawn 
with  great  delicacy  and  skill,  and  in  the  same  enamel 
which  is  used  for  the  ground.  In  all  these  powder- 
blue  vases  the  blue  is  of  the  finest  cobalt  known  in  the 
early  K'ang-hsi  period,  when  the  industry  was  re- 
vived at  Ching-te-chen  under  the  Tartar  dynasty.  The 
name  powder-blue  is  derived  from  the  powdered 
or  spotted  quality  of  the  ground,  which  is  produced 
by  blowing  the  liquid  color  on  by  means  of  a  bamboo 
tube,  or  primitive  atomizer,  the  white  reserves  being 
obtained  by  pieces  of  paper  cut  in  the  desired  shape 
and  pasted  on  the  body.  The  paste  is  a  fine,  pure, 
dense  white  porcelain. 
K'ang-hsi  (1662-1722).  Height  18  and  16  inches. 

(PLATE   II) 

13  to  18.  SIX  TRIPLE  GOURDS  with  trumpet 
mouths.  With  reserves  of  various  shapes  containing 
decorations  in  five-colored  transparent  enamels  of 
flowers,  plants,  blossoms,  household  ornaments,  etc., 
on  a  powder-blue  ground  overlaid  with  gold  diaper 
ornament. 
K'ang-hsi  (1662-1722).         Height  10  and  8}^  inches. 

19,20.    TWO      CLUB-SHAPED      VASES.     Fine 
white  porcelain;  reserves  containing  beautifully  drawn 
decoration  in  brilliant  cobalt. 
K'ang-hsi  (1662-1722).  Height  9K  inches. 


CASE  B 

I  to  4.  GARNITURE  OF  FOUR  CYLINDRICAL 
VASES  with  flaring  mouths.  Decoration  of  horizontal 
bands  of  various  ornament  in  brilliant  cobalt. 

Height  1 1  ^2  inches. 


OF  CHINESE  PORCELAINS       [CASE  B 

5  to  8.  FOUR  HAWTHORN  VASES  OR  GIN- 
GER-JARS, of  which  the  one  with  a  wooden  cap  is 
known  as  the  Blenheim  vase,  having  come  from  the 
Marlborough  collection.  The  ground  of  each  is  of  the 
deepest  and  most  brilliant  cobalt,  broken  up  into  an 
arbitrary  pattern  known  as  "cracked  ice,"  upon  which 
is  picked  out  in  the  pure  white  of  the  glazed  surface  a 
graceful  decoration  of  so-called  hawthorn  blossoms, 
being  actually  the  flower  of  the  mei  or  winter-blooming 
plum-tree. 
K'ang-hsi  (1662-1722).  Height  10  inches. 

(PLATE  XI) 

9  to  12.    FOUR   OVOID   JARS   with    caps.     Fine 
white  porcelain  with  a  decoration  in  brilliant  cobalt 
of  linked  medallions  and  bands  of  ornament. 
K'ang-hsi  (1662- 1722).  Height  6^  inches. 

13  to  16.  FOUR  SPHERICAL  BOTTLES  with  cy- 
lindrical necks.  With  a  decoration  in  brilliant  cobalt. 
These  are  copies  made  in  China  of  a  piece  of  Delft 
which  in  its  turn  had  been  modelled  after  a  Chinese 
original,  but  with  a  distinctly  Dutch  quality  in  the  exe- 
cution. The  fidelity  of  the  Chinese  artist's  copy  is 
unimpeachable.  On  the  foot  is  an  enigmatical  mark 
resembling  a  misshapen  D  or  G,  and  which  has  been 
conjectured  to  be  a  copy  of  a  mark  on  the  Dutch  orig- 
inal. The  late  Philippe  Sichel,  a  great  authority, 
claimed  that  the  mark  was  a  D,  and  stood  for  Delft. 
The  paste  is  of  fine  quality,  and  dense  and  heavy. 
K'ang-hsi  (1662-1722).  Height  8  and  7X  inches. 

(plate  VII i) 

17,  18.    TWO    BOTTLES    with    sloping    shoulders 
and  slender,  flaring  necks.     Intricate  and  delicately 
drawn  decoration  of  floral  ornament  in  cobalt. 
K'ang-hsi  (1662- 1722).  Height  7K  inches. 

5 


THE    MORGAN    COLLECTION 

CASE  C 

I  to  4.  FOUR  LARGE  BOTTLES  with  tall,  wide 
necks.  A  closely  woven  decoration  of  chrysanthe- 
mum-pattern in  dark,  lustrous  cobalt  on  a  brilliant 
white  ground. 

K'ang-hsi  (1662- 1722).  Height   17  inches. 

(plate  ix) 

5  to  7.  THREE  COVERED  BOWLS.  With  groups 
in  high  relief  in  biscuit  (formerly  painted  and  gilt) 
of  the  Pa  Hsien  or  eight  Immortals.  Decoration  in 
blue  of  landscapes  with  figures  and  floral  ornament. 
Early  sixteenth  century;  probably  reign  of  Chia-ching 
(i 522-1 566).  Diameter  6  inches. 

(plate  xvi) 

8.  SMALL  BOWL  with  contracted  rim.  Decora- 
tion of  floral  ornament  in  brilliant  blue. 

K'ang-hsi  (i 662-1 722).  Diameter  4^  inches. 

9,  10.  TWO  CYLINDRICAL  VASES,  semi-egg- 
shell, with  wide,  flaring  lips.  Two  large  reserves,  with 
borders  in  relief,  supported  upon  a  geometrical  or  fish- 
roe  ground,  drawn  in  black  underneath  the  blue,  and 
thickly  sprinkled  with  butterflies  and  flowers  modelled 
in  low  relief  in  the  brilliant  white  paste.  In  the  re- 
serves are  alternately  an  elaborately  drawn  landscape 
and  the  figure  of  one  of  the  immortals,  Lan  Ts'ai-ho, 
bearing  a  lotus  in  one  hand,  and  standing  upon  her 
frail  tree-trunk  bark,  which  floats  upon  the  stream 
or  among  the  clouds. 

Ch'ien-lung  (i 736-1 795).  Height   \^}4  inches. 

II.  OVOID  VASE,  semi-egg-shell,  with  wide  mouth 
and  short  neck.  Two  large  reserves  with  borders  in 
relief,  supported  upon  a  geometrical  or  fish-roe  ground, 

6 


OF  CHINESE  PORCELAINS       [CASE  C 

thickly  sprinkled  with  butterflies  and  floral  ornament 
modelled  in  low  relief  in  the  brilliant  white  paste;  the 
ground  drawn  in  black  underneath  the  blue.  Shou 
marks  and  floral  ornament  on  the  top.  The  reserves 
are  decorated  with  landscapes. 
Ch'ien-lung  (1736-1795).  Height  15X  inches. 

12.  QUADRILATERAL  VASE,  with  cylindrical 
foot,  dome-shaped  top,  and  rectangular  modelled  bars 
in  relief  on  the  sides.  The  ground  decorated  with 
a  closely  woven  chrysanthemum-pattern  drawn  in 
black  upon  the  biscuit  and  submerged  in  blue  under- 
neath the  glaze. 

Ch'ien-lung  (1736-1795).  Height  I4>^  inches. 

I2A.  BOWL.  A  tazza-shaped  blue  and  white  bowl 
decorated  in  Lamaistic  style  with  conventional  floral 
sprays  and  tasselled  strings  of  beads.  In  the  intervals 
of  the  floral  decoration  an  eight-worded  formula  or 
spell,  of  Buddhist  origin  is  written  in  debased  Sanskrit 
characters.  Bowls  of  this  form  called  pa  wan,  "han- 
dled bowl,"  are  used  for  offerings  of  shewbread  and 
fruit  on  the  altar. 

Under  the  foot  is  a  seal  mark  of  six  characters  in  a 
horizontal  line  reading:  Ta  Ch'ing Ch'ien-lung  nien  chih. 
(Made  in  the  reign  of  Ch'ien  lung  [A.  D.  1736-1795]  of 
the  Great  Ch'ing  [dynasty].)  Diameter  5  inches. 

13,  14.  TWO  BOTTLES  with  tall,  slender  necks. 
Decoration  of  dragons  with  fire-emblems  and  floral 
ornament  in  brilliant  blue. 

K'ang-hsi  (1662-1722).  Height  9   inches. 

15,  16.  TWO  CYLINDRICAL  VASES  with  covers. 
Decoration  of  chrysanthemum-pattern  in  brilliant 
deep  blue. 


CASE    Cj  THE    MORGAN    COLLECTION 

Mark:  A  leaf  of  artemisia  with  ribbon. 
K'ang-hsi  (1662-1722).  Height  'j^i  inches. 

(plate  x) 

17,  18.    TWO   DOUBLE    BOTTLES  with   twisted 
necks.     Decoration  of  plants,  flowers,  and  leafage  in 
brilliant  blue. 
K'ang-hsi  (1662- 1722).  Height  8  inches. 

CASE  D 

1.  LARGE  BEAKER  VASE.  Decorated  in  bril- 
liant enamel  colors  and  gold  of  the  K'ang-hsi  period 
with  a  Taoist  scene,  "the  immortal  genii  worshipping 
the  god  of  longevity"  {Chu  Hsien  Ching  Shou). 

The  god  of  longevity  is  seen  above,  seated  on  a  crane 
flying  through  the  clouds,  attended  by  an  acolyte 
holding  his  stafl^  with  scroll  and  gourd  tied  to  it.  The 
group  standing  on  his  right  hand  include  the  star 
god  of  happiness,  with  an  open  scroll  inscribed  Fu 
in  gold,  and  the  star  god  of  rank,  with  Lu  brocaded  on 
his  robes,  both  attended  by  acolytes.  The  motley 
group  of  worshippers  gathered  round  the  sides  of  the 
vase,  to  be  recognized  by  their  attributes,  include 
most  of  the  members  of  the  Taoist  pantheon.  Two 
gigantic  pines  spread  across  from  the  background  to 
over-shadow  the  scene  with  foliage  of  shaded  greens. 
Mark:  (fictitious)  Ta  Ming  Ch'eng-hua  nien  chih, 
encircled  by  a  double  ring. 
K'ang-hsi  (1662-1722).  Height  27  inches. 

2.  HEXAGONAL  ARROW-RECEPTACLE  AND 
STAND.  Decorated  with  floral  sprays  in  the  midst  of 
which  project  the  typical  forms  of  two  lizard-like 
dragons  (chih-lung)  with  branches  of  sacred  fungus  in 
their  m.ouths,  worked  in  salient  relief  on  the  sides  of  the 

8 


OF  CHINESE  PORCELAINS       [CASE  D 

vase.  The  panels  reserved  in  the  floral  grounds  are 
filled  with  figures  from  Taoist  mythology  and  literary 
history,  which  are  enumerated  in  order  in  the  inscription 
of  verse  in  the  three  upper  panels.  The  panels  give 
pictures  of  Tung-Fang  So  riding  the  clouds,  carrying  on 
his  shoulder  the  branch  of  peaches  which  he  has  stolen 
from  the  tree  of  life  in  paradise;  Li  T'ai-po,  the  cele- 
brated poet,  reclining  beside  his  wine  jar;  the  scholar 
watching  a  pair  of  butterflies;  the  woodman  of  Chinese 
story;  besides  pictures  of  ladies,  playing  boys  with 
symbols,  storks  and  pines,  flowers  and  birds,  a  land- 
scape with  the  usual  two  aged  pilgrims,  etc.  The  low- 
est six  panels  contain  the  eight  genii  {Pa  Hsien),  ar- 
ranged so  as  to  be  framed  in  niches  formed  by  the  open 
sides  of  the  pedestal.  The  inscriptions  have  fanciful 
seals  attached,  of  which  Shan  (the  hills  are  everlast- 
ing) is  one. 

K'ang-hsi  (1662- 1722).  Height   30  inches. 

(plate  xix) 

3.  TALL  CYLINDRICAL  VASE  with  short  neck 
and  spreading  lip.  The  battle  scene  painted  on  this 
magnificent  K'ang-hsi  vase  is  difficult  to  identify.  A 
walled  city  is  being  assaulted  and  defended  by  a  sortie 
of  armed  horsemen,  directed  by  a  generalissimo  of 
three  armies  who  is  standing  with  his  staff  on  the  city 
wall  with  a  state  umbrella  held  over  his  head.  The 
attacking  force  is  under  the  command  of  a  magician 
riding  on  a  lion,  who  is  conjuring  a  flock  of  birds  from 
the  blazon  of  his  shield,  and  has  tigers  and  gigantic 
wolves  under  his  command,  and  a  savage  brandishing 
two  clubs,  but  who,  in  spite  of  this  motley  array,  is  be- 
ing driven  back  by  the  imperial  troops.  The  shoul- 
der of  the  vase  is  decorated  with  a  brocaded  band  in- 
terrupted by  panels  filled  with  birds  and  flowers. 
The  neck  is  painted  with  Taoist  genii  crossing  the 
cosmic  sea  on  whelk  and  tortoise,  among  whom  Liu 


CASE    D]  THE    MORGAN    COLLECTION 

Han,  with  his  famiHar  three-legged  toad,  is  conspicuous. 

Mark:  A  double  ring  pencilled  in  blue. 

K'ang-hsi  (1662- 1722).  Height   293^   inches. 

4.  INVERTED  PEAR-SHAPED  VASE  with  beak- 
er neck,  spreading  lip  and  base.  On  opposite  sides  of 
the  body  two  Imperial  yellow-breasted  phoenixes, 
with  purple  and  green  wings  and  red  crests,  stand  on 
green  rocks,  from  behind  which  spring  red,  buflf,  and 
rose-colored  peonies  with  green  and  purple  leaves, 
and  red  and  pink  peach  trees  in  whose  branches,  which 
cover  the  neck,  are  yellow  finches  with  purple  wings. 
Painted  in  brilliant  enamel  colors  on  fine  translucent 
white  porcelain,  and  probably  originally  destined  for 
a  ground-work  in  black  enamel. 

Mark:  Ta  Ming  Ch'eng-hua  nien  chih  (Made  in  the 
reign  of  Cheng-hua  of  the  great  Ming  dynasty). 
[  1 465-1 487 — apocryphal.] 

K'ang-hsi  (1662- 1722).  Height  28  inches. 

,  (plate  xviii) 

5,  6.  TWO  LARGE  ARMORIAL  PLATES.  Fine 
white  porcelain  with  brilliant  decoration  in  five  color 
enamels  of  late  seventeenth  or  early  eighteenth  cen- 
tury. Made  in  China  to  fill  an  order  from  Holland, 
and  carrying  the  armorial  bearings  of  Brabant. 
K'ang-hsi  (1662-1722).    Diameter  i6>^  and  14  inches. 

7.    LARGE  BEAKER,  with  decoration  of  peonies 
and  pheasants  amid  rocks  and  flowers.     Tessellated 
pattern  about  the  shoulder,  and  on  the  neck  a  design 
of  asters  and  other  flowers. 
Ch'ien-Iung  (1736-1795).  Height  30  inches. 

CASE  E 

1,2.    TWO  CHIM/ERAS  OR  LIONS.    Decoration 

10 


OF  CHINESE  PORCELAINS       [CASE  E 

in  five-color  enamels,  with  bases  in  geometrical  diaper 

and  other  ornament. 

K'ang-hsi  (1662- 1722).  Height   14  inches. 

3,4.    TWO   CYLINDRICAL   VASES.     Horizontal 
bands  of  red  and  green  with  various  floral  and  other 
ornament. 
K'ang-hsi  (1662- 1722).  Height    io|^  inches. 

5.  STATUETTE  OF   KUAN  YIN.     Seated  on  a 
lotus,  bearing  a  ju-i  sceptre  and  vase,  and  supported 
on    a    hexagonal    stand.     Rich    five-color   decoration 
with  reserves  containing  various  ornament. 
K'ang-hsi  (1662- 1722).  Height   16  inches. 

(plate  xxxv) 

6,  7.    TWO  PHEASANTS.     Rich  and  elaborate  dec- 
oration of  plumage  in  polychrome  and  gold. 
Ch'ien-Iung  (1736-1795).  Height  19  inches. 

(plate  xxxviii) 

8.  LU-HSING,  THE  GOD  OF  RANK:  SEATED. 
His  yellow  robe  with  green  cape,  is  decorated  with  fly- 
ing cranes,  nebulae,  circular  medallions  containing 
flowers,  and  bordered  with  foaming  sea-waves;  in  his 
left  hand  he  holds  a  rose-colored  ju-i  sceptre.  His  hat 
•is  divided  vertically  into  sections  of  rose,  yellow,  and 
green,  and  decorated  in  front  with  a  row  of  conventional 
lotus  leaves. 

K'ang-hsi  (1662- 1722).  Height  15K  inches. 

(plate  xxxvii) 

9.  DUTCH  GALLIOT  UNDER  SAIL.  Five-color 
decoration. 

K'ang-hsi  (1662-1722).  Length  9>^  inches. 

(plate  xxxii) 

II 


CASE    E]  THE   MORGAN   COLLECTION 

10,11.    TWO   MANDARIN    DUCKS. 
K'ang-hsi  (1662-1722).  Height  ii>2  inches. 

(plate  xxxiv) 


12.  FU-HSING,  THE  GOD  OF  HAPPINESS: 
STANDING.  On  his  right  arm  he  carries  a  boy;  the 
skirt  of  his  green  and  yellow  robe  is  embroidered  with 
water-dragons  in  circles,  birds,  and  prunus  blossoms; 
on  the  waist  are  dragons  and  nebulae;  his  hat  is  green 
with  a  yellow  ju-i  head  decoration. 

K'ang-hsi  (1662-1722).  Height    17  inches. 

(plate  xxxvii) 

13.  WINE  POT  IN  THE  FORM  OF  THE  CHAR- 
ACTER FU.  Five-color  decoration  of  animals,  birds, 
flowers,  etc. 

K'ang-hsi  (1662- 1722).  Height   10  inches. 

(plate  xxxix) 

14.  WINE-POT  IN  THE  FORM  OF  THE  CHAR- 
ACTER SHOU.  Green  and  yellow  diaper  with  re- 
serves showing  Taoist  worthies,  the  spout  and  handle 
yellow  and  black  wound  bamboo. 

K'ang-hsi  (1662-1722).  Height  8^  inches. 

(plate  xxxix) 

15.  LARGE  PLATE.  Similar  to  No.  6,  Case  D, 
but  with  arms  of  Overysel. 

16.  LARGE  PLATE.  Elaborate  decoration  in 
eight  reserves,  with  a  floral  centre. 

K'ang-hsi  (1662-1722).  Diameter  22  inches. 

17.  WINE  POT  IN  THE  FORM  OF  THE  CHAR- 

12 


OF  CHINESE  PORCELAINS       [CASE  E 

ACTER  SHOU.     Decoration  in  deep  green  and  black 

with  drawing  of  Shou  Lao. 

K'ang-hsi  (i  662-1 722).  Height  8^  inches. 

(plate    XXXIII) 

18,  19.    TWO  COCKS.     Crimson  crests,  white  bod- 
ies, and  brilliant  plumage  on  the  wings,  neck  and  tail. 
Standing  on  aubergine  rock.     Much  copied  at  Dresden 
about  the  middle  of  the  eighteenth  century. 
K'ang-hsi  (1662- 1722).  Height  13  inches. 

20.    WINE-POT,  with  cover.     Rich  five-color  deco- 
ration, with  green  medallions  superposed  upon  a  Shou 
character  in  black. 
K'ang-hsi  (i 662-1 722).  Height  14K  inches. 

(plate  xlvi) 


CASE  F 

1,2.  TWO  HEXAGONAL  LANTERNS.  Egg- 
shell porcelain,  crenelated  at  top  and  bottom,  the 
reticulated  sides  supporting  medallions,  and  the  whole 
invested  with  a  rich  and  elaborate  decoration  of  poly- 
chrome ornament.  The  medallions  or  reserves  con- 
tain beautifully  painted  designs  of  figures. 
Ch'ien-lung  (1736-1795).  Height  13K  inches. 

(plate  xliv) 

3.  HEXAGONAL  LANTERN.  Egg-shell  porce- 
lain with  delicately  reticulated  panels  supporting  me- 
dallions which  are  decorated  with  figure  subjects. 
Polychromatic  borders  of  fine  diaper  ornament  with 
red  chrysanthemums. 

Ch'ien-lung  (1736-1795).  Height  12  inches. 

(plate  xliv) 

13 


CASE    f]  the    morgan    COLLECTION 

4,  5.  TWO  OVOID  VASES  with  covers.  The  Tao- 
ist  divinity  figured  on  these  two  vases  is  Hua-Hsien, 
the  goddess  of  flowers,  who  carries  a  basket  of  flowers 
on  the  handle  of  a  hoe,  and  is  accompanied  by  a  female 
attendant  with  a  vase  of  flowers  and  a  boy  with  books, 
while  two  storks  follow  behind.  The  same  personage, 
by  the  way,  seems  to  be  represented  on  the  semi-egg- 
shell ovoid  vase  (No.  11)  in  Case  C,  traveling  through 
the  cosmic  sea  in  a  rustic  boat,  although  perhaps  Hsi 
Wang  Mu  is  intended  in  this  case. 
Seal  mark  of  Chi'en-lung  (1736-1795). 

Height  io>^  inches. 
(plate  xliii) 

6.  WHITE  EGG-SHELL  BOWL  with  scalloped 
lip.  In  the  disk  inside  is  a  chouan  mark  of  the  reign 
of  Yung-lo  ( 1 403-1 424),  and  modelled  in  the  paste 
throughout,  but  visible  only  in  direct  sunlight,  are 
beautifully  drawn  dragons  disporting  in  the  firmament 
amid  cloud-forms  and  emblems.  The  paste  is  trans- 
lucent and  of  exquisite  fineness.  {See  introductory 
notes.)  Diameter  8  inches. 

7.  ROSE-BACKED  EIGHT-BORDERED  SAUCER. 
Decoration:  Two  ladies  and  three  children  with  vases, 
emblems,  flowers  and  fruit.  Eight  reserves  of  lotus 
and  peonies  alternating  with  water  dragons  between 
bands  of  green. 

Ch'ien-Iung  (1736-1795).  Diameter  8X  inches. 

8,9.  TWO  GLOBULAR  BOTTLES.  Two  wide- 
necked  bottle-shaped  vases  brilliantly  decorated  in 
shaded  greens  with  red  and  gold  and  touches  of  black. 
The  theme  is  again  that  of  the  fish  persevering  till 
it  surmounts  the  rapids  of  the  Yellow  River  at  the  Lung 
Men,  or  Dragon  Gate,  and  ipso  facto  becomes  transform- 
ed into  an  aerial  dragon.     The  fish»  a  red  and  gold  carp, 


OF    CHINESE    PORCELAINS  [CASE    F 

is  worked  in  high  relief  so  as  to  seem  to  be  leaping  into 
space,  and  the  dragons  in  pursuit  of  pearls  are  mod- 
elled around  the  neck  of  the  vases  in  the  same  salient 
relief.  Among  the  wave  forms  are  bats  and  various 
creatures,  together  with  blossoms,  etc. 
K'ang-hsi  (1662- 1722).  Height  14  inches. 

10.  SMALL  BEAKER,  with  decoration  of  flowers, 
leafage  and  insects  above,  landscape  and  figures  in  the 
middle,  and  floral  designs  below,  in  aubergine  on  an  im- 
perial yellow  ground. 

Mark  underneath:  Six-character  mark  of  Wan-li  within 

a  double  ring. 

Wan-li  (i 573-1619).  Height   loX  inches. 

11.  BLACK  HAWTHORN  CYLINDRICAL  VASE 
with  broad  band  at  centre.  Decoration  in  black  haw- 
thorn style,  supporting  red-bo.rdered  reserves  of  flower- 
ing plants,  etc. 

K'ang-hsi  (1662-1722).  Height  15 >^  inches. 

12.  WRITER'S  WATER-CUP.   Peach-bloom  glaze. 
Mark:  Ta  Ch'ing  K'ang-hsi  nien  chih  (Made  in  the 
reign  of  K'ang-hsi,  of  the  great  Ch'ing  dynasty). 
K'ang-hsi  (1662-1722).  Diameter  4  inches. 

13  to  21.  NINE  ROSE-BACKED  SEVEN-BOR- 
DERED PLATES.  Egg-shell  porcelain.  In  a  rich 
border  of  seven  distinct  bands  of  decoration,  a  white 
leaf-shaped  reserve  shows  in  the  centre  a  lady,  in  light 
rose  jacket,  yellow  apron,  a  gold  comb  in  her  hair, 
pale-greenish  skirt,  and  yellow-lined  black  scarf  em- 
broidered in  gold,  seated  in  a  chair  of  which  the  fawn- 
colored  back  alone  is  visible  above  her  left  shoulder. 
She  looks  down  at  a  bare-legged  child  in  a  rose  coat, 
necklet,  bracelets,  and  anklets  of  gold,  who  holds  a 
gold  ju-i  sceptre  in  his  left  hand,  and  stands  with  his 

»5 


CASE  F]  the  morgan  COLLECTION 

right  foot  on  her  scarf;  on  the  left  another  child  in 
hght-cobalt  jacket  and  light-rose  trousers  peeps  across 
her  knee  at  the  other  and  holds  a  rose  lotus  flower 
and  green  leaf  in  his  right  hand.  Behind  is  a  large  jar 
tinted  in  blue  and  green,  with  white  scrolls  and  dragons 
on  the  body,  and  beyond  it  another  of  brownish  red 
cracked-ice  pattern;  behind  all  a  pale  yellow  brown- 
spotted  bamboo  table  with  cobalt-tinted  top  on  which 
to  the  right  lie  two  boxes  of  books  with  rose  and  green 
tops  and  sides,  and  a  brilliant  ultramarine  vase  with 
pink  and  green  scrolls,  and  a  white  gold-mounted  fly- 
flap;  and  to  the  left  a  gold  incense-burner,  a  purplish 
vase  with  two  gold-eyed  green  peacock  feathers  and 
a  branch  of  crimson  coral  and  fungus.  Outside  the 
gold-grounded  centre  is  a  border  of  black-flowered 
lozenge  on  pale  green;  next,  a  gold-edged  border  of 
deep  rose  with  water-dragons  in  pale  greenish-blue 
interrupted  by  four  oblong  reserves  with  rounded 
and  indented  ends  defined  in  gold  and  green,  each 
with  a  lotus  flower  with  scroll  leaves  in  white  on  a  co- 
balt ground  Next  is  a  narrow  gold-edged  border  of 
delicate  black  scroll  on  cafe-au-lait.  On  the  edge  a 
gold-edged  pattern  of  black  Y  on  greenish-blue;  next, 
black-flowered  octagon  and  square  pattern  on  rose, 
interrupted  by  four  white  oblong  reserves,  the  rounded 
ends  bordered  with  rose,  each  with  a  spray  of  rose 
camellia,  chrysanthemum,  peony,  or  rose  camellia, 
with  rose  and  yellow  lotus;  midway  between  these 
white  reserves  are  four  rounded  jade-like  reserves 
showing  scroll  water-dragons  incised  in  the  paste. 
Outside  all  a  border  of  lotus  flowers  with  scroll  leaves 
in  gold  on  white. 

Ch'ien-lung  (1736-1795).  Diameter  8X  inches. 

(plate  xxi) 

22.    RUBY-BACKED    PLATE.     Egg-shell    porce- 
lain.   The  centre  is  grounded  with  black  Y-pattern 

16 


OF   CHINESE    PORCELAINS  [CASE    F 

on  deep  green  with  a  foliated  octagonal  white  reserve 
each  alternate  ray  being  filled  with  a  cobalt-blue- 
centred  red  plum  flower  with  green  and  blue  scroll 
leaves  on  a  gold  ground.  Excepting  for  this  filling-in 
of  these  rays,  this  plate  is  similar  in  design  to  the 
foregoing. 
Ch'ien-lung  (1736-1795).  Diameter  8>^  inches. 

23,  24.  TWO  EGGSHELL  VASES,  of  ovoid  form, 
with  narrow  neck  and  swelling  lip.  Decorated  in  bril- 
liant enamel  colors,  with  Chinese  ladies  in  gay  cos- 
tume, holding  flowers  or  fruit,  and  children  playing — 
a  family  scene,  with  tables  carrying  vases,  scroll-pic- 
tures, pots  of  flowers,  in  the  background,  and  the  usual 
details  of  a  cultured  interior  in  China. 

Height  7f  inches,  diameter  4X  inches. 

25,  26.  TWO  SAUCER-SHAPED,  ROSE-BACKED 
DISHES,  similar  to  one  in  British  Museum,  which  is 
labeled  "Chinese  Eggshell  Porcelain  Dish."  Quails 
and  rich  borders.  Presented  by  the  Hon.  Robert 
Meade,  C.B.,  1890. 

Diameter  9  inches. 

27,  28.    TWO  GLOBULAR  BOTTLES.    Fine  white 
porcelain,  with  superbly  drawn  decoration  of  chrysan- 
themums in  delicate  transparent  enamels. 
Mark:  Ta  Ch'ing  Yung-cheng  nien  chih  (Made  in  the 
reign  of  Yung-cheng  of  the  great  Ch'ing  dynasty). 
Yung-cheng  (1723- 173 5).  Height    14  inches. 

(plate  lv) 


CASE  G 

I.    LARGE  PLATE.     Fine  white  porcelain.     This  is 
perhaps  the  most  brilliantly  decorated  and  attractive 

17 


CASE   G]  the   morgan   COLLECTION 

dish  in  the  collection.  The  broad  band  of  floral  bro- 
cade round  the  border  studded  with  lotus  blossoms, 
alternately  white  and  red,  has  a  wonderfully  rich  ef- 
fect, broken,  as  it  is,  by  foliated  panels  enclosing  dainty 
pictures  of  birds,  butterflies  and  grasshoppers.  The 
central  scene  displays  a  Taoist  divinity  with  a  fly 
whisk  in  his  hand  and  a  sword  slung  across  his  back — 
presumably  Lii  Tung-pin — standing  upon  a  bank  of 
clouds,  preceded  by  one  of  his  myrmidons  carrying  a 
sleeping  damsel  on  his  back.  On  the  right  in  an  open 
pavillion  filled  with  books  stands  a  student  in  official 
dress,  holding  a  lighted  candle  in  his  hand,  as  he  gazes 
on  the  celestial  apparition.  The  full  moon  is  shining 
in  the  sky,  a  golden  disk,  beside  the  constellations  of 
the  "herdsman"  and  the  "spinning  damsel,"  sug- 
gestive of  the  reunion  of  lovers.  See  Mayer's  Chinese 
Reader  s  Manual,  No.  311  (p.  97).  In  another  varia- 
tion of  this  theme,  often  seen  in  ceramic  art,  the  stu- 
dent is  represented  asleep  in  his  library,  with  a  scroll 
proceeding  from  his  head  and  opening  out  to  reveal, 
as  in  a  dream,  a  similar  vision,  in  which  the  myrmidon 
is  perhaps  figured  with  the  head  and  wings  of  an  eagle. 
Mark:  A  leaf  of  artemisia. 

K'ang-hsi  (1662-1722).  Diameter  21  inches. 

(plate  lxvi) 

2.  LARGE  PLATE.  Intricate  decoration  of  cen- 
tral panel  surrounded  by  eight  reserves  containing 
various  designs  of  flowers,  birds,  household  objects, 
ornaments,  etc.  Exterior  ornament  of  lotus  flowers 
and  arabesques. 
K'ang-hsi  (1662-1722).  Diameter  24  inches. 

3,4.    TWO    PORCELAIN    FIGURES,    man    and 
woman,  made  Tor  exportation  to   Holland,   the  cos- 
tumes copied  from  European  engravings. 
K'ang-hsi  (1622- 1722).  Height   15  inches. 

18 


OF    CHINESE    PORCELAINS  [CASE    G 

$.    STATUETTE   OF   CHEOU-LAU,    the   god   of 
longevity.     Blue  and  white  porcelain. 
Wan-li  (i 573-1619).  Height  20  inches. 

6.  STATUETTE   OF  A  PRIEST,  his  green  flow- 
ing robe  covered  with  Shou  and  Fu  characters. 
K'ang-hsi  (1662- 1722).  Height  18  inches. 

7,  8.  TWO  PEAR-SHAPED  VASES.  Various 
objects  depicted  on  a  ground  of  pale  transparent  green, 
flowers  and  leaves  on  the  neck  above  a  band  of  red. 
K'ang-hsi  (1622-1722).  Height  \2%  inches. 

9,  10.  TWO  SAUCER-SHAPED  PLATES,  with 
rose-colored  {rouge  d'or)  back,  decorated  inside  with 
brilliant  enamels  and  gilding.  The  decoration  con- 
sists of  bands  of  fine  diaper  of  diverse  design;  green, 
pink,  yellow,  and  turquoise-blue  grounds,  interrupted 
by  formal  flowers,  enclosing  a  foliated  medallion.  The 
medallion  contains  a  basket-work  vase  filled  with  sprays 
of  peony,  magnolia,  orchids,  and  other  flowers,  and 
a  dish  of  Buddha's-hand  citrons.  Inscribed  Ling  nan 
hut  che  (A  Canton  painting)  and  Pai  Shih  (White  Rock 
Studio). 

Diameter  6}i  inches. 

II  to  14.  FOUR  SAUCER- PLATES,  with  rose 
{rouge  d'or)  back,  decorated  inside  with  a  pair  of  cocks 
in  a  garden  beside  a  rockery  covered  with  peonies  and 
other  flowers. 

Mark  underneath:  A  felicitous  couplet — Kung  mingfu 
kuei  Hungfu  ch'i  Vien — flanked  by  outlines  of  dragons. 

Diameter  6%  inches. 

15  to  16.  PAIR  OF  CUPS  AND  SAUCERS.  The 
cups  decorated  inside  with  a  band  of  pink  diaper  en- 
closing formal  flowers  of  design  identical  with  that  of 

»9 


CASE   G]  the   morgan   COLLECTION 

No.  2,  and  a  single  orchid  bloom  in  the  bottom  of  the 
cup;  outside  with  delicately  diapered  grounds  inter- 
rupted by  three  circular  panels  filled  with  separate 
sprays  of  peonies,  roses  and  chrysanthemums.  The 
saucers  decorated  inside  with  similar  grounds  of  yellow 
diaper  and  green  basket-work,  studded  with  pink 
phoenix  rosettes,  and  enclosing  three  circular  panels 
filled  with  sprays  of  peony  and  narcissus,  rose  and  lily, 
chrysanthemum  and  aster. 

Height    of  cups,    iK    inches.     Diameter    2f  inches. 

Diameter  of  saucers,  4  inches. 

17.  BLACK  HAWTHORN  VASE  WITH  CAP. 
Decoration  of  peonies  and  leafage  upon  brilliant  black 
ground. 

K'ang-hsi  (1662- 1722).  Height   16  inches. 

18.  BLACK  HAWTHORN  VASE.  Decoration  of 
peonies,  almond-blossoms  and  various  leafage,  with 
pheasant,  insects  and  green  rocks  upon  a  brilliant  black 
ground. 

K'ang-hsi  (1662-1722).  Height  15  inches. 


CASE  H 

I  109.  NINE  FIGURES:  mythological  personages. 
K'ang-hsi  (1622- 1722). 

10.  HEXAGONAL  VASE  for  spills,  each  panel  in 
pentagonal  perforations,  with  circular  reserves  bearing 
floral  decorations. 

K'ang-hsi  (i  662-1 722).  Height  6  inches. 

11,  12.  TWO  DOGS  FU,  with  elaborate  stands  and 
five-color  decorations. 

K'ang-hsi  (1662-1722).  Height  25  inches. 

20 


OF    CHINESE    PORCELAINS  [CASE    H 

13,  14.  TWO  CYLINDRICAL  VASES,  with  spread- 
ing lips  in  ormolu  rims  and  stands  of  ormolu;  style  of 
Louis  XVI,  covered  with  floral  scrolls  in  white  on  a 
vermilion  ground,  with  arabesques  in  borders  and 
palmations  on  shoulders  and  bases,  in  brilliant  red, 
blue,  and  green  enamels. 
K'ang-hsi  (1662- 1722).  Height  21  inches. 

15,  16.    TWO  DOGS  FU. 
K'ang-hsi  (1662- 1722).  Height   19  inches. 

17.    VASE,  with  a  long,  tapering  neck  and  deco- 
ration in  five  colors  of  flowers  and  various  leafage; 
probably  made  for  Persia,  and  used  to  sprinkle  rose- 
water. 
K'ang-hsi  (1662- 1722).  Height   12  inches. 


CASE  I 

1.  CORNET.  Turquoise  blue  palmations  and  in- 
cised decorations  in  the  paste. 

Ch'ien-Iung  (i 736-1 795).  Height  8K  inches. 

2.  BOTTLE.  White  porcelain  invested  with  a  bril- 
liant glaze  of  mirror-black  which,  on  close  examination, 
reveals  the  "ghost"  of  an  elaborate  decoration  orig- 
inally applied  in  gold,  but  now  vanished. 

K'ang-hsi  (1662- 1722).  Height  9^  inches. 

3.  BOTTLE  invested  with  a  fine  aubergine  glaze. 
K'ang-hsi  (1662- 1722).  Height  9><  inches. 

4.  5.  TWO  IMPERIAL  YELLOW  GALLIPOTS. 
Fine  white  porcelain  invested  with  pale  yellow  trans- 
parent glaze. 

K'ang-hsi  (i  662-1 722).  Height  9K  inches. 

21 


CASE    l]  THE   MORGAN    COLLECTION 

6.  GLOBULAR  BOTTLE.  Pale  turquoise  glaze. 
Ch'ien-luhg  (1736-1795).  Height  1 1^  inches. 

7.  GALLIPOT.  Fine  white  porcelain  invested 
with  pale  celadon  glaze,  through  which  is  seen  a  floral 
decoration  in  low  relief  beautifully  modelled  and  drawn. 
Yung-cheng  (1723-1735).  Height  6  inches. 

8.  GLOBULAR  BOTTLE  invested  with  pale 
apple-green  glaze. 

K'ang-hsi  (1622- 1722).  Height  6)4  inches. 

9.  SMALL  BOTTLE  with  long  neck.     Dense  white 
porcelain,  invested  with  pale  lavender  glaze. 
Yung-cheng  (1723-1735).  Height  8>^  inches. 

10.  GLOBULAR  BOTTLE.  Mustard-yellow 
crackle. 

Yung-ch^rig  (1723-1735).  Height  6  inches. 

11.  GLOBULAR  BOTTLE  invested  with  a  glaze 
of  copper-red  over  which  there  has  been  fired  a  glaze 
of  dark  blue,  producing  a  deep  purple  effect. 

Mark  underneath:  Ta  Ming  Hsuan-ie  nien  chih  (1426- 

1435)  [apocryphal]. 

K'ang-hsi  (i  662-1 722).  Height  7K  inches. 

12.  GLOBULAR  BOTTLE  with  a  wide  neck.  Cel- 
adon glaze. 

K'ang-hsi  (1622-1722).  Height  8>^  inches. 

13.  OVOID  VASE.  Glaze  of  a  pale  lavender. 
Mark  underneath:  Ta  Ching  Yung-cheng  nien  chih. 
Yung-ch^ng  (1723-1735).  Height  5^  inches. 

14.  RED  AND  BLACK  HAWTHORN  VASE,  in 
which  the  prunus  flower  appears  as  red.    The  decora- 

22 


OF  CHINESE  PORCELAINS        [CASE  I 

tion  is  of  great  brilliancy  and  distinction  throughout, 
the  black  enamel  being  superposed  on  a  green  ground 
which  is  reserved  in  various  parts  of  the  design,  as 
in  the  rocks,  leafage,  and  branches.  Spray  of  red 
prunus  on  the  foot. 

K'ang-hsi  (1662- 1722).  Height  28X  inches. 

(plate  liv) 

1 5.  BLACK  HAWTHORN  VASE.  Brilliant  decor- 
ation of  white  mei  flowers  throughout,  with  birds 
singing  among  the  branches,  the  rich  black  enamel 
superposed  on  a  green  ground. 

K'ang-hsi  (1662- 1722).  Height  27K  inches. 

(plate  liii) 

16.  BLACK  HAWTHORN  BEAKER  VASE. 
Elaborately  decorated  with  white  flowered  prunus, 
with  rosy-red  limbs  and  deep  green  leaves,  springing 
from  rocks  of  varying  green,  red,  and  bright  purple-blue; 
above  are  small  birds;  the  whole  in  brilliant  enamels  on 
black. 

K'ang-hsi  (1662- 1722).  Height  27^  inches. 

(plate  xlviii) 

17.  GREEN  HAWTHORN  BEAKER.  A  large 
prunus-tree  with  purple  branches  and  white  blossoms 
with  yellow  centres  shoots  from  behind  red  and  deep- 
green  colored  rocks,  beyond  which  grow  yellow  peonies, 
and  spreads  around  the  vase  and  neck.  Small  black 
and  yellow  birds  are  perched  in  the  branches.  The 
ground  is  a  light,  dull  green. 

K'ang-hsi  (1662- 1722).  Height  27  inches. 

CASE  J 

I  to  3.  THREE  BOWLS,  semi-eggshell.  Three  re- 
markable bowls  of  K'ang-hsi /^wz7/^  verte  style,  painted 

23 


CASE   j]  THE   MORGAN    COLLECTION 

with  characteristic  enamels  inside  as  well  as  outside. 
One  pair  enamelled  black  outside  with  reserve  medal- 
lions containing  sprays  of  flowers,  is  marked  under- 
neath with  the  seal  character  ch'ing  (pure),  encircled 
by  a  double  ring. 

The  other  bowl  of  fine  quality,  decorated  outside 
with  orchids  and  chrysanthemums  in  peach  and  leaf- 
shaped  panels,  reserved  in  the  black  ground  inside 
with  sprays  of  peonies  in  green  and  pale  purple  relieved 
by  a  yellow  ground,  is  marked  underneath  with  the 
seal  character/z*  (happiness),  within  a  double  ring. 
K'ang-hsi  (1662-1722).  Diameter  7^  inches. 

4.  GREEN  BOWL.     Pale  sea-green  glaze  support- 
ing sprays  of  magnolia,  chrysanthemum,  etc. 
K'ang-hsi  (1662-1722).  Diameter  7^  inches. 

5.  BEAKER.  Pale  yellow  glaze  with  flowering 
prunus,  etc. 

K'ang-hsi  (1662- 1722).  Height    10^    inches. 

(plate  lxiii) 

6.  7.  TWO  GREEN  PARROTS  on  variegated  rocks. 
One  has  a  white  breast  dotted  with  black,  and  a  white 
bill.  The  other's  breast  is  streaked  and  his  bill  is  red. 
K'ang-hsi  (1662-1722).  Height  8^  inches. 

8,  9.  TWO  BOWLS.  Light  cafe-au-lait  glaze  sup- 
porting four-clawed  dragons  alternating  with  phoenixes 
in  pink,  green,  and  red,  surrounded  by  nebulae  and 
fire-emblems. 

Mark:  Ta  Ming  Ch'eng-hua  nien  chih  (Made  in  the 
reign  of  Ch'eng-hua  of  the  great  Ming  dynasty). 
[1465- 1 487 — apocryphal.] 
K'ang-hsi  (1662- 1722).  Diameter  S}i  inches. 

10.  QUADRILATERAL  VASE  OR  ARROW- 
STAND  in  square  porcelain  socket.     The  ground  is 

24 


OF  CHINESE  PORCELAINS        [CASE  J 

black  diaper  on  pink,  with  red  chrysanthemums  and 
scroll-leaves,  interrupted  by  six  white  reserves,  on 
front  and  back,  and  four  on  sides,  containing  emblems, 
landscapes,  birds,  and  flowers,  between  which,  in  high 
relief,  golden  lizards  crawl  among  brilliant  red  ling-chih 
with  pale  green  stalks.  Round  the  top  is  a  red  trellis 
border  with  three  flower  petals  at  each  corner. 

Round  the  top  of  the  stand  runs  a  black  star  border 
on  deep  green,  interrupted  in  centres  and  at  each  cor- 
ner by  red  ju-i  heads;  below  is  a  gold  line  and  a  border 
of  pointed  ovals  in  red  on  white,  and  a  yellow  enam- 
elled key-pattern  in  relief.  Surrounding  the  sides  and 
base  of  the  pierced  panel  are  blue  lotus  flowers  on  red  or 
green  brocaded  ground  edged  with  black,  and  having 
black  ju-i  heads  at  the  corners.  Twenty  greenish-blue 
ju-i  heads  in  relief  on  a  pink  speckled  ground  surround 
the  base,  with  red  prunus  flowers  and  green  leaves, 
and  black  ju-i  head  corners  below. 
K'ang-hsi  (1662-1722).  Height  12X  inches. 

11.  QUADRILATERAL  VASE  with  flaring  neck 
and  base.  On  two  sides  are  inscriptions  in  verse,  and 
elsewhere  various  landscapes  on  a  yellow  ground. 
This  rare  quadrilateral  vase  decorated  with  the  same 
class  of  enamels  as  the  three  bowls  i,  2,  3,  has  the  same 
seal  mark  ch'ing,  attached  to  the  inscription,  leading  to 
the  inference  that  it  may  have  been  the  work  of  the 
same  hands  as  the  bowls. 

K'ang-hsi  (1662- 1722).  Height    14  inches. 

(plate  lxii) 

12,  13.  TWO  WINE-POTS  with  bulbous  bodies, 
tapering  necks,  and  bell  covers.  White  porcelain, 
divided  vertically  into  panels  enclosing  flowers  in  deli- 
cate enamel  colors. 

K'ang-hsi  (1662- 1722).  Height  9K  inches. 

25 


CASE   j]  THE    MORGAN    COLLECTION 

14.  WINE-POT  with  bulbous  body,  quadrilateral 
neck,  and  phoenix-head  spout.  White  porcelain,  di- 
vided into  panels  of  floral  and  geometric  decoration 
in  delicate  colors. 

K'ang-hsi  (i 662-1 722).  Height   loX  inches. 

15.  GLOBULAR  BOTTLE  with  narrow  cylindrical 
neck.  White  porcelain,  chrysanthemum  scrolls  in 
brilliant  enamel  colors.  Similar  in  origin  to  the  blue 
and  white  pieces,  Nos.  13  to  16,  in  Case  B,  and  bearing 
the  same  mark. 

K'ang-hsi  (1662-1722).  Height  9X  inches. 

16.  GREEN  VASE  with  dragon  handles.  Brilliant 
iridescent  green  glaze.  An  elaborate  design  of  dragons, 
birds,  and  flowers  is  incised  in  the  paste  under  the 
glaze,  and  appears  like  gold  when  seen  in  sunlight. 
This  is  one  of  the  rarest  and  finest  examples  known. 
It  is  a  Ming  piece,  and  bears  underneath  the  lip,  in  a 
white  reserve,  the  mark  written  horizontally  in  blue. 
Mark:  Ta  Ming  IVan-li  nien  chih  (Made  in  the  reign 
of  Wan-li  of  the  great  Ming  dynasty),     [i  573-1619.] 

Height  14^  inches. 
(plate  lxi) 

17  to  19.    THREE  TRIPLE  GOURDS.  Chrysanthe- 
mum scroll  in  white  reserve  on  a  ground  of  brilliant 
green  enamel;  on  No.  19  the  design  is  in  gold. 
K'ang-hsi  (1662-1722).     Height  iiK  and  lo^  inches. 
(plate  lx) 

20.  SEATED  FIGURE.  In  a  robe  decorated  with 
hexagons  of  yellow  with  alternate  black  stars  and  dots. 
K'ang-hsi  (i 662-1 722).  Height  7^  inches. 

21,22.  TWO  OCTAGONAL  WINE  CUPS.  White 
porcelain,   the  eight   panels  decorated  with  flowers, 

26 


OF    CHINESE    PORCELAINS  [CASE   J 

birds,  and  butterflies  in  bright  transparent  enamels. 
K'ang-hsi  (1662-1722).  Height  4^  inches. 

23,  24.    TWO  GLOBULAR   BOTTLES   with   bul- 
bous necks.     White  porcelain.     Palmations  and  bands 
of  floral  ornament  in  bright  enamel  colors. 
K'ang-hsi  (1662-1722).  Height  9  inches. 

25,26.  TWO  CUBICAL  BOXES,  covered  with 
black  diamond-work  on  a  deep  green  ground,  inter- 
rupted by  wave-edged  diamond  medalHons,  with  a  yel- 
low fish  on  a  purple  ground.  On  tops  of  the  lids  are 
purple  and  yellow  fishes,  shells  and  a  fan  on  a  deep- 
green  background. 
K'ang-hsi  (1662-1722).  Height  3  inches. 

27,  28.   TWO  TRIPLE  GOURD  BOTTLES.  White 
porcelain.     Beautifully  drawn  sprays  of  flowers,  ju-i 
heads  and  bands  of  floral  design  in  brilliant  enamels. 
K'ang-hsi  (i 662-1 722).  Height  7K  inches. 

29.  YELLOW  OVOID  VASE.  With  five-colored 
decoration  of  boldly  drawn  flowering  plants. 

Mark:  Ch'eng-hua   nien   chih  (Made   in   the   reign   of 
Ch'eng-hua).     [1465-1487 — apocryphal.] 
K'ang-hsi  (1662-1722).  Height   lo^  inches. 

(plate  lxiii) 

30.  SEATED  FIGURE.  Clad  in  a  green  robe  deco- 
rated with  yellow  circular  medallions  containing  blue 
and  green  flowers.  A  band  of  bright  blue  encircles  his 
neck  and  disappears  under  the  right  arm.  The  cloak 
is  of  red  with  scroll-work  and  lotus  flowers  in  white  re- 
serve. 

K'ang-hsi  (1662-1722).  Height  7K  inches. 

3 1 .  OVOI D  VASE.     Decoration  of  flowers  and  leaf- 

27 


CASE   j]  THE    MORGAN    COLLECTION 

age,  with  pheasants  in  green  and  aubergine  on  a  yellow 
ground.     Green  palmations  on  the  neck  and  foot.     A 
swastika  on  the  square  underneath. 
K'ang-hsi  (1662- 1722).  Height  loX  inches. 

32.    QUADRILATERAL  VASE  with  chi'lin  han- 
dles.    Ground  of  green  diaper  pattern,  with  yellow  re- 
serves containing  water-lizards. 
K'ang-hsi  (1662- 1722).  Height  14  inches. 


CASE  K 

1,2.    TWO  FEMALE  FIGURES  with  stands.  Poly- 
chrome decoration  of  elaborate  flower  motive  with  gold. 
The  stands  octagonal  with  panels  perforated  in  rec- 
tagonal  swastika  pattern. 
K'ang-hsi  (1662-1722).  Height  38  inches. 

3.  LARGE  VASE  of  hexagonal  and  globular  sec- 
tion, the  latter  in  panels  with  alternate  dragons  and 
phoenixes  disporting  among  cloud  forms  above  a  palm- 
ated  border.  A  typical  specimen  of  the  polychrome 
style  of  the  reign  of  Wan-li  of  the  Ming  dynasty  which 
is  known  to  the  Chinese  as  Wan-li  wu  ts'ai,  literally, 
"five-color  Wan-li."  The  mark  of  the  period  is  written 
in  a  small  horizontal  panel  under  the  lip  of  the  vase. 
Wan-li  (i 573-1619).  Height  34  inches. 

4.  QUADRILATERAL  VASE  with  chimaera  hand- 
les.    Varied  decoration  of  flowers  and  leafage  alterna- 
ting with  flower  vases  and  other  objects  of  domestic 
use  and  adornment  upon  a  pale  yellow  ground. 
K'ang-hsi  (i 662-1 722).  Height   20   inches. 

5.  WINE  VESSEL.  Floral  decoration  with  re- 
serves containing  two  dogs.  Fu  contending  for  a  ball. 
K'ang-hsi  (1662- 1722).  Height  12X  inches. 

28 


OF   CHINESE    PORCELAINS  [CASE    K 

6.  LARGE  VASE.  A  magnificent  K'ang-hsi  vase 
of  Taoist  character,  with  the  figures  and  other  details 
boldly  marked  in  high  relief  in  the  paste,  and  brilliantly 
painted  with  the  richest  palette  of  the  famille  verte,  in 
combination  with  gold,  so  as  to  stand  out  with  vivid 
distinction  and  force.  The  principal  figure  is  Shou  Lao, 
the  god  of  longevity,  mounted  on  a  deer,  with  a  stork 
flying  over  his  head,  and  acolytes  in  attendance.  On 
the  opposite  side  of  the  vase  is  Hsi  Wang  Mu,  the 
*' Queen  Mother  of  the  West,"  riding  on  a  scroll  of 
clouds,  with  an  attendant  carrying  three  peaches,  and 
a  deer  bringing  a  branch  of  the  sacred  fungus  in  its 
mouth.  Her  consort,  Tung  Wang  Kung,  the  "Sov- 
ereign Lord  of  the  East,"  stands  near  with  a  roll  of 
writing  in  his  hand,  preceded  by  his  alter  ego,  Tung- 
fang  So,  carrying  off  the  stolen  fruit  of  life.  Another 
man  in  attendance  holds  up  a  babe  in  a  dish,  a  gift  for 
some  faithful  devotee  of  the  goddess.  The  Pa  Hsien, 
(Eight  Genii),  and  many  other  saintly  hermits  of  the 
Taoist  cult  are  grouped  on  the  body  of  the  vase,  to  be 
recognized  by  their  varied  attributes.  On  the  neck  we 
see  fVu  Lao,  (the  Five  Old  Ones),  embodied  spirits  of 
the  five  planets,  who  are  examining  a  scroll  unrolled  be- 
fore them  with  the  yin  yang  symbol  of  the  powers  of 
light  and  darkness  painted  on  it. 

K'ang-hsi  (i 662-1 722).  Height  30  inches. 

7,  8.  TWO  LARGE  VASES.  Powder-blue.  Cylin- 
drical in  form,  with  tall  necks.  Rich  ground  of  powder- 
blue,  overlaid  with  an  intricate  ornament  in  gold,  en- 
closing four  oblong  panels  richly  decorated  in  alternate 
floral  and  landscape  designs.  Corresponding  reserves 
below  and  above. 

K'ang-hsi  (i  662-1 722).  Height  30  inches. 

9.  LARGE  PLATE.  Landscape  with  figure  in 
brilliant  colors;  the  border  is  decorated  with  flowers  on 

29 


CASE    K]  the   morgan    COLLECTION 

a  frog-spawn  ground,  with  four  white  citron-shaped 

reserves  enclosing  figures  and  landscape. 

Ch'ien-lung  (1736-1795).  Diameter  22  inches. 

10.    LARGE  PLATE.     In   the  centre,  part  of  the 
piazza  of  a  house  with  figures;  on  the  rim  are  the  eight 
horses  of  the  emperor  Mu  Wang. 
Ch'ien-lung  (1736-1795).  Diameter  21 X  inches. 


CASE  L 

I  to  5.  GARNITURE  OF  FIVE  PIECES.  An  oval 
vase  with  cover  and  four  small  beakers.  A  common 
decoration,  flowers  and  leafage  upon  a  ground  of  green 
and  yellow  above  a  base  of  palmations  in  powder-blue. 
(Burghley  House  Collection.) 
K'ang-hsi  (1662-1722).         Height  11   and   12  inches. 

6,7.  TWO  OVOID  JARS  with  bell  covers.  The 
bodies  decorated  with  yellow  and  red  peonies,  rose- 
colored  lotus,  and  yellow-eyed  white  prunus  in  reserve 
on  black  enamel,  with  four  white  foliated  octagon  re- 
serves containing  the  flowers  of  the  four  seasons  and 
appropriate  birds.  The  necks  have  a  band  of  red  and 
white  prunus  on  white,  and  the  lids  white  prunus  on 
black. 

Mark:  A  leaf  in  double  ring. 
K'ang-hsi  (1662- 1722).  Height  16X  inches. 

8.  CUP  AND  SAUCER.    Ruby-red,  five  radiating 
petal-shaped  reserves  enclosing  blue  flowers. 
Ch'ien-lung  (i 736-1 795).        Cup:  Height  iK  inches. 

Saucer:  Diameter  4K  inches. 

9.  CUP  AND  SAUCER.  Ruby-red,  with  a  five- 
pointed  arabesque  white  reserve,  a  spray  of  flowers  in 

30 


OF    CHINESE    PORCELAINS  [CASE    L 

each  point,  and  a  conventional  lotus  flower  in  the  centre 
in  bright  enamel  colors. 

Ch'ien-lung  (i 736-1 795).        Cup:  Height    i^  inches. 

Saucer:  Diameter  5 >i  inches. 

10.  TEA-POT  modelled  in  met  blossoms. 
K'ang-hsi  (1662- 1722).  Height  4>^  inches. 

1 1 .  TEA-POT.  Powder-blue  with  gold  ornament 
and  two  niches,  one  with  modelled  flowers  and  fruits, 
and  the  other  a  cock  and  hen. 

K'ang-hsi  (i 662-1 722).  Height  5  inches. 

12.  13.  TWO  LARGE  PLATES.  Each  showing 
two  pheasants  on  rocks,  with  peonies  and  two  birds  in 
a  flowering  tree  above;  on  the  edges  elaborate  borders 
with  knots  separating  six  reserves  enclosing  flowers  and 
animals;  the  whole  in  brilliant  colors  and  gold. 
Yung-cheng  (i 723-1 735).  Diameter  22  inches. 

14,  15.  TWO  OVOID  JARS  with  bell  covers 
and  retreating  bases.  Reserves  of  various  shapes  en- 
closing landscapes,  flowers  with  birds  and  insects,  inter- 
mingled with  yellow,  blue,  green,  and  white  isolated 
chrysanthemum  flowers  on  a  rose  ground. 
Ch'ien-lung  (1736-1795).  Height  17  inches. 

(plate  lxxv) 


CASE  M 

1.  CLAIR  DE  LUNE  (yueh  pai)o{  the  K'ang-hsi 
period,  with  the  imperial  six-character  mark  of  the 
reign  pencilled  underneath  in  blue. 

K'ang-hsi  (i 662-1 722).  Height   7   inches. 

2.  GLOBULAR  VASE  with  wide  neck  and  spread- 

31 


CASE    M]  the    morgan    COLLECTION 

ing  lip;  lotus-petals  modelled  in  relief  around  the  body. 

Reproduction  of  ancient  Chiin-yao. 

Yung-cheng  (1722-173 5).  Height   7   inches. 

3.  CLAIR  DE  LUNE  OVOID  VASE  with  chimera 
handles  and  rudimentary  rings  modelled  in  imitation 
of  a  Han  bronze  and  invested  with  a  pale  gray-lavender 
glaze. 

Ch'ien-lung  (i 736-1 795).  Height  14  inches. 

4,  5.  TWO  BOWLS.  The  outside  reticulated  in 
hexagonal  fret,  interrupted  by  six  circular  medallions 
pierced  as  flowers,  and  painted  in  enamel.  Inside  are 
blue  sprays  of  flowers  and  a  floral  border  in  blue,  red 
and  yellow. 

Mark:  Ta  Ching  K'ang-hsi  nien  chih  (Made  in  the  reign 

of  K'ang-hsi  of  the  great  Ching  dynasty). 

K'ang-hsi  (i  662-1 722).  Diameter  6  inches. 

6  to  9.  FOUR  CELADON  PLATES.  Fourteenth 
or  fifteenth  century;  the  largest  22  inches  in  diameter. 
Of  exceedingly  heavy  kaolinic  ware,  with  broadly 
treated  floral  design  modelled  in  the  body,  fluted  sides, 
and  foliated  rim.  This  is  an  exceedingly  fine  specimen 
of  martahani,  the  vessels  so  celebrated  in  Persia,  and 
which  were  famed  for  their  alleged  property  of  dis- 
closing the  presence  of  poison  by  changing  their  color. 
The  smaller  plates  are  of  the  same  period.  Nearly  all 
specimens  of  this  character  reach  us  by  way  of  Persia 
and  India. 

10.  FLOWER  BOWL  {hua  p'en)  intended  for 
bulbs  of  flowering  narcissus,  with  mottled  glaze  of 
flambe  character,  of  Sung  dynasty.  Chiin-chou  ware 
(Chiln-yao).  It  has  underneath  the  numeral  ssu  (four) 
stamped  in  the  paste  under  the  glaze. 

Diameter  9  inches. 

32 


OF   CHINESE    PORCELAINS  [CASE   M 

11.  FLATTENED  GLOBULAR  BOWL  invested 
with  a  mottled  glaze  of  aubergine  purple  flecked  with 
lighter  spots.  Reproduction  of  an  ancient  Chiin-yao 
piece. 

Yung-cheng  (1723-173 5).  Diameter  6%  inches. 

12.  BOWL.  Chiin-yao  of  the  Sung  dynasty  with  a 
purple  glaze  of  varied  tone  and  crackle. 

Diameter  5  inches. 

13.  BOWL.  Kuan-yao  of  the  Yuan  or  Sung  dy- 
nasty. Greenish-purple  glaze.  Mounted  with  a  bronze 
collar. 

Diameter  6K  inches. 

14.  PILLOW.  Completely  covered  with  intricate 
decoration  of  flowers  and  leaves. 

K'ang-hsi  (1662- 1722).  Length  17^^  inches. 

15.  GALLIPOT  invested  with  a  pale  lavender  glaze. 
Mark  underneath:  Seal-character,  Ta  Ch'ing  Yung- 
cheng  nien  chih. 

Yung-cheng  (1723-173 5).  Height  14  inches. 

16.  WRITER'S  WATER -POT.  Peach-bloom 
glaze. 

Mark  underneath:  Ta  Ching  K'ang-hsi  nien  chih. 
K'ang-hsi  (1662-1722).  Diameter  5  inches. 

17  to  22.  SIX  AMPHORAS.  Peach-bloom.  Beauti- 
ful examples  of  all  the  most  esteemed  varieties  of  this 
much-sought  glaze.  Attributed  to  the  prefecture  of 
Nien. 

Mark  underneath:  Ta  Ch'ing  K'ang-hsi  nien  chih. 
K'ang-hsi  (1662-1722).  Height  6%  inches. 

23.   OVOID  VASE  with  tall,  wide  neck.     Massive 

33 


CASE   M]  the   morgan    COLLECTION 

porcelain  with  a  band  of  modelled  ornament  in  the  paste 

of  the  shoulder;  the  whole  invested  with  a  lavender 

glaze. 

Mark  underneath:  Six-character  seal-mark  of  Ch'ien- 

lung. 

Ch'ien-Iung  (i 736-1 795).  Height   16  inches. 

24.  BOTTLE-SHAPED  VASE,  with  wide,  flaring 
neck.     Glaze  of  pale  lavender, 

Mark  underneath:  Six-character  seal-mark  of  Ch'ien- 

lung. 

Ch'ien-lung  (1736-1795).  Height  15  inches. 

25.  LARGE  VASE  invested  with  a  brilliant  glaze  of 
turquoise  crackle. 

Ch'ien-lung  (i 736-1 795).  Height  17  inches. 

26.  PEAR-SHAPED  BOTTLE.  White  porcelain 
with  striated  crackle  and  elaborate  decoration  of  flowers, 
leafage,  and  butterflies  beautifully  drawn  in  the  paste. 
Yung-cheng  (1723- 173 5).  Height  13  inches. 

27.  BEAKER.    White  porcelain. 

K'ang-hsi  (1662- 1722).  Height  18  inches. 

28.  VASE.  Pure  white  porcelain,  entirely  covered 
with  an  elaborate  and  beautifully  drawn  decoration  of 
flowers  and  leafage,  intricately  drawn  and  modelled  in 
the  paste,  the  whole  covered  with  a  fine  light  celadon 
glaze. 

K'ang-hsi  (1662-1722).  Height  17X  inches. 

29.  TALL  BOTTLE.     Imperial  yellow  glaze. 
K'ang-hsi  (1662- 1722).  Height  15K  inches. 

30.  VASE  invested  with  a  glaze  of  Mazarin  blue. 
K'ang-hsi  (1662- 1722).  Height   17  inches. 

34 


OF   CHINESE    PORCELAINS  [CASE   M 

31.  GALLIPOT  invested  with  a  glaze  of  pistache 
green. 

Mark  underneath:     Seal-character,   Ta  Ching  Ch'ien- 
lung  nien  chih. 
Ch'ien-lung  (1736-1795).  Height  13  inches. 

CASE  N 

1,2.  PAI R  OF  LARGE  ELEPHANTS  of  the  Ch'ien- 
lung  period,  carrying  vases  on  their  backs — Hsiang  t'o 
pas  p'ing  (Elephants  carrying  precious  vases).  The 
decoration  is  of  Taoist  character,  the  saddle  cloths  be- 
ing painted  with  branches  of  peaches  and  bats,  emblems 
of  longevity  and  happiness.  The  caparison  and  har- 
ness are  inlaid  with  colored  enamels  as  if  mounted  with 
jewels  and  tassels,  and  they  are  generally  finished 
in  the  most  ornate  style  of  the  time.  The  vases,  which 
are  comparatively  small  in  size,  are  filled  with  berried 
plants  resembling  the  iris,  the  leaves  of  which  are  carved 
in  nephrite  and  the  berries  in  red  coral.  The  tusks  of 
the  elephants  are  covered  in  real  ivory  and  glued  in 
sockets  left  for  the  purpose. 
Ch'ien-lung  (1736-1795).  Height  20  inches. 

3.  SMALL  ELEPHANT  of  the  same  period,  and 
possibly  identical  workmanship. 

Ch'ien-lung  (1736- 1795).  Height  8  inches. 

4.  JAR  (kuan)  of  old  crackled  celadon  (Lung-ch'uan 
yao)  invested  with  a  deep  rich  glaze  of  dark  "onion-green" 
(grass-green)  tone.  Round  the  shoulder  a  floral  scroll 
is  lightly  tooled  in  the  paste  under  the  glaze.  The 
interior  of  the  vase  and  the  foot  are  also  coated  with 
celadon  glaze  of  green  shade.  A  Sung  dynasty  piece. 
The  cover,  which  has  been  lost,  is  replaced  by  a  metal 
one  of  Japanese  workmanship. 

Height  9K  inches. 

35 


CASE    N]  the    morgan    COLLECTION 

5.  BEAKER-SHAPED  VASE  of  four-lobed  section 
covered  with  a  thick  crackled  glaze  of  bluish  celadon 
tone,  overspread  in  places  with  bright  red  blotches,  and 
mottled  with  an  occasional  spot  of  yellow  color.  A 
reproduction  of  a  Kuan  yao  piece  of  the  Sung  dynasty. 

Height  8  inches. 

6.  MOTTLED  FAIENCE  INCENSE  BURNER 
(hsiang-lu)  mounted  on  six  legs  with  a  pedestal  modelled 
as  part  of  the  piece.  The  body,  of  rounded  form,  is 
moulded  with  three  rams'  heads  in  relief,  alternating 
with  three  triangular  studs.  Three  rams  (san  yang  k'ai 
tai)  are  symbols  of  the  revivifying  power  of  spring.  A 
primitive  specimen  of  the  Chiin-chou  kilns  {Chun  yao), 
dating  back  to  the  Yuan,  if  not  to  the  Sung,  dynasty. 

Height  6%  inches. 

7.  WHITE  BOWL  with  wide  spreading  sides,  deco- 
rated with  floral  scrolls  lightly  worked  in  the  paste  under 
the  glaze.  A  specimen  of  Sung  dynasty  Ting  yao.  The 
Ting-chou  kilns,  it  is  well  known,  furnished  the  original 
models  after  which,  according  to  tradition,  the  early 
Ming  eggshell  bowls  of  the  reign  of  Yung-lo  were 
fashioned. 

Diameter  8  inches. 

8.  BOWL,  smaller  than  the  last,  of  Sung  dynasty 
Ting-yao,  mounted  with  a  copper  collar  around  the 
rim.  The  decoration,  which  is  moulded  in  relief  in  the 
paste  under  the  glaze  in  the  interior  of  the  bowl,  con- 
sists of  formal  panels  of  flowers,  and  a  border  of  rectan- 
gular fret  running  round  the  rim. 

Diameter  6  inches. 

9.  ANCIENT  MOTTLED  CHUN  YAO  VASE  of 
the  Sung  dynasty,  with  bulbous  mouth,  having  as  a 

36 


OF   CHINESE    PORCELAINS  [CASE   N 

"mark"  the  numeral  san  (three)  incised  in  the  paste 
underneath  the  foot. 

Height  7  inches. 

10.  CRACKLED  CELADON  ROUND-SHOULD- 
ERED VASE  (mei-p'ing)  of  Lung-ch'ilan  yao,  perhaps 
dating  from  the  Sung  dynasty.  The  decoration  con- 
sists of  designs  worked  in  the  paste  under  the  glaze, 
which  is  of  grass-green  tone. 

Height  8  inches. 

11.  PEAR-SHAPED  VASE  of  Sung  dynasty  ATw^w 
yao. 

Height  6  inches. 

12.  QUADRANGULAR  VASE  of  the  Yuan  dynasty, 
mounted  on  a  circular  vase,  with  three  scrolled  feet. 
It  is  moulded  with  the  eight  trigrams  {pa  kua),  in  relief, 
and  with  elephants'  heads  as  handles. 

Height  8  inches. 

13.  GLOBULAR  WATERVESSELof  flattened  form, 
having  the  circularly  rimmed  mouth,  as  it  were,  depress- 
ed, covered  with  a  soft  gray-blue  (yueh  pai)  glaze  of 
clair  de  lune  tone.  It  has  the  six-character  imperial 
mark  of  the  reign  of  K'ang-hsi  penciled  underneath  in 
cobalt  blue. 

K'ang-hsi  (1662-1722).  Diameter  4  inches. 

14.  CH'IEN  LUNG  WATER  VESSEL  of  globular 
shape,  invested  with  a  monochrome  glaze  of  pale  green- 
ish tint.  The  "mark"  is  an  imperial  seal  of  the  reign 
penciled  underneath  in  blue.  The  foot  rim  is  coated 
iron  gray,  suggestive  of  the  old  iron-boned  Ju-chou 
ware  {T'ieh-ku  ju  yao),  of  the  Sung  dynasty,  the  paste 
of  which  was  of  this  particular  color. 

Diameter  5  inches. 

37 


CASE   n]  the   morgan    COLLECTION 

15.  SEATED  FIGURE  OF  MAITREYA  BUDDHA 
(Mi-lo  Fo),  carrying  a  fly-whisk.  Ivory  white.  Ch'ien- 
il-ii  of  the  Ming  dynasty,  during  which  the  Fuchien 
kilns  were  celebrated  for  their  Buddhist  images. 

Height  6  inches. 

16.  CUP.  "Hare's  fur"  (t'u  hao),  or  "gray  par- 
tridge" (perdrix  cinerea)  invested  with  a  dark  brown 
glaze  ending  below  in  unctuous  drops,  flecked  and 
lined  with  grayish  blue.  A  characteristic  specimen 
of  Chien-yao  (Fu-chien  ware)  of  the  Sung  dynasty,  with 
a  copper  collar  mounted  round  the  rim. 

Diameter  4%  inches. 

17.  TRIPOD  INCENSE-BURNER  (hsiang-lu)  of 
the  Ming  dynasty.  Ivory  white  Fuchien  porcelain 
{Chien-ti'u),  modelled  after  an  ancient  bronze  de- 
sign. A  band  of  beautifully  modelled  ornament  about 
the  middle. 

Height  10  inches. 

18.  SHALLOW  BOWL  {wan).  Greenish-yellow 
crackled  glaze  of  the  Sung  dynasty,  leaving  a  bare  ring 
in  the  bottom  within.  A  specimen  of  ancient  Mi-se 
or  yellow  millet-colored  crackle  from  the  Kiang-hsi 
potteries.  Formerly  the  possession  of  his  Excellency 
Chang  Yinhuan. 

Diameter  6  inches. 

19.  20.    TWO  FIGURES.     Children  pick-a-back. 
K'ang-hsi  (1662-1722).  Height  10  inches. 

CASE  I 

I.  LARGE  PLATE.  Powder-blue,  with  a  white 
central  reserve  and  rim,  both  bearing  decoration  of  blos- 
soms and  scrolls  of  chrysanthemums. 

38 


OF   CHINESE    PORCELAINS  [CASE   I 

Mark:  Within  a  double  ring,  outline  of  a  pair  of  fish, 

suspended  by  fillets. 

K'ang-hsi  (1662- 1722).  Diameter  20X  inches. 

2  to  4.  GARNITURE  OF  THREE  VASES.  Pow- 
der-blue, with  white  reserves  containing  decorations  of 
landscapes,  flowering  plants,  etc.  The  blue  ground 
overlaid  with  arabesques  in  gold. 
K'ang-hsi  (1662-1722).  Height  17K  and  16  inches. 
(plate  III) 

5.    LONG-NECKED  BOTTLE  with  bulbous  neck. 
Powder-blue,  with  reserves  of  various  shapes  containing 
decoration  of  chrysanthemums  and  pinks. 
K'ang-hsi  (1662-1722).  Height  17K  inches. 

6  to  10.  GARNITURE  OF  FIVE  PIECES:  three 
ovoid  vases  with  mandarin  caps,  and  two  cylindrical 
club-shaped  vases.  Powder-blue.  Reserves  in  various 
shapes  containing  designs  of  landscapes,  figures,  and 
floral  ornament,  the  blue  ground  overlaid  with  ara- 
besques in  gold.  The  large  central  panels  of  foliated 
outline  are  filled  with  a  series  of  dramatic  scenes  from 
a  Chinese  play,  probably  the  Hsi  Hsiang  Chi  (Story  of 
the  Western  Pavilion). 
K'ang-hsi  (1662-1722).     Height  17X  and  i6>^  inches. 

II.  OVOID  VASE  with  short,  straight  neck.  Pow- 
der-blue, with  reserves  containing  decoration  of  chry- 
santhemums and  peach  blossoms  in  alternate  panels. 
K'ang-hsi  (1662- 1722).  Height  9  inches. 

12  to  14.  EWER  AND  TWO  CYLINDRICAL 
VASES.  Powder-blue,  with  reserves  of  various  shapes 
containing  floral  and  other  ornament,,  the  blue  over- 
laid on  the  ewer  with  a  reticulated  or  broken-ice  pat- 
tern, and  on  the  others  with  arabesques, — all  in  gold. 

39 


CASE    l]  THE    MORGAN    COLLECTION 

In  the  reserves  on  the  ewer,  the  chi-lin  (unicorn)  and 
feng-huang  (phoenix);  Hon  and  eagle;  pheasant  with 
sprays  of  magnoHa  and  tree  peony. 
K'ang-hsi  (1662-1722).       Height  11  and  io>^  inches. 

15.  OVOID  VASE  with  short,  straight  neck.  Pow- 
der-blue, with  white  rectangular  and  leaf-shaped  re- 
serves containing  various  ornament. 

K'ang-hsi  (1662- 1722).  Height  8X  inches. 

16.  BOTTLE    with    bulbous    neck.     Powder-blue, 
with  white  reserves  containing  various  ornament. 
K'ang-hsi  (1662- 1722).  Height  8  inches. 

17  to  19.    GARNITURE  OF  THREE  PIECES:  two 
ovoid  vases  with  short,  straight  necks,  and  a  bottle 
with  long,  flaring  neck.     Powder-blue.     White  reserves 
with  various  ornament. 
K'ang-hsi  (1662-1722).        Height  8^  and  10  inches. 

20.  BOTTLE    with    bulbous    neck.     Powder-blue 
with  reserves  containing  various  designs,  and  on  the 
neck  a  band  of  ornament  on  a  red  ground. 
K'ang-hsi  (1662- 1722).  Height  7K  inches. 

21.  TRIPLE-GOURD     BOTTLE     with     trumpet 
mouth.     Powder-blue,  with  white  reserves  of  various 
shapes  containing  decoration  of  diverse  objects. 
K'ang-hsi  (1662- 1722).  Height  9X  inches. 

22.  BOTTLE    with    bulbous    neck.     Powder-blue, 
with  white  reserves  filled  with  various  ornament,  the 
blue  ground  overlaid  with  arabesques  in  gold. 
K'ang-hsi  (1662- 1722).  Height  8  inches. 

23.  BOWL,  shallow,  with  cover  and  handles.     Pow- 

40 


OF    CHINESE    PORCELAINS  [CASE    I 

der-blue,    white    reserves    containing    landscape    and 

other  ornament. 

K'ang-hsi  (1662- 1722).  Diameter  6>^  inches. 

24.  BOTTLE    with    bulbous    neck.     Powder-blue, 
with  white  reserves  containing  landscapes,  about  the 
neck  a  band  of  white  ornament  upon  a  red  ground. 
K'ang-hsi  (1662- 1722).  Height  7X   inches. 

25.  TRIPLE-GOURD  BOTTLE  with  trumpet 
mouth.  Powder-blue,  with  white  reserves  containing 
various  ornament. 

K'ang-hsi  (1662- 1722).  Height  io>^  inches. 


CASE  H 

26,  27.    TWO  PLATES.    Powder-blue,  with  reserves 
decorated  with  flowers  growing  from  rocks  and  with 
butterflies  and  other  insects  in  the  various  panels. 
K'ang-hsi  (1662- 1722).  Diameter  loK  inches. 

28  to  30.  GARNITURE  OF  THREE  PIECES:  a 
club-shaped  cylindrical  centrepiece,  and  two  ovoid 
vases  with  mandarin  caps.  Powder-blue;  the  blue 
ground  overlaid  with  rich  and  intricate  ornament  in 
gold;  reserves  of  various  shapes  filled  with  beautifully 
drawn  designs  of  figures,  landscapes,  and  various  orna- 
ment. The  club-shaped  vase  is  decorated  in  the  largest 
panels  with  ladies  engaged  in  the  "four  elegant  accom- 
plishments" (ch'in,  ch'i,  shu,  hud))  i.e.,  music  (the  lyre), 
chess,  writing  and  painting.  The  rich  floral  scrolls  of 
chrysanthemums  are  efi'ectively  outlined  in  gold  on  the 
powder-blue  ground  so  as  to  be  reserved  in  blue  with 
gilded  surroundings. 
K'ang-hsi  (1662- 1722).    Height  17K  and  18K  inches. 

41 


CASE    II]  THE    MORGAN    COLLECTION 

31,32.  TWO  LARGE  BOWLS.  Powder-blue,  with 
leaf-shaped  reserves  filled  with  diverse  decorative  de- 
signs; the  blue  ground  in  No.  31  overlaid  with  ara- 
besques in  gold.  No.  32  is  of  special  interest  in  ex- 
hibiting on  a  single  piece  in  its  panel  decoration  the 
three  characteristic  grounds — coral-red,  green  and  yel- 
low— which  are  so  highly  appreciated,  in  connection 
with  the  fourth  black  ground,  in  the  large  vases  of  the 
period. 

Mark     on     No.    ^2     underneath:     Fu     (happiness), 
pencilled  in  archaic  or  "seal"  character. 
K'ang-hsi  (i  662-1 722).  Diameter  i  \}4  and  12X  inches. 

33.  OVOID  VASE  with  short,  straight  neck.  Pow- 
der-blue, with  white  reserves  filled  with  diverse  decora- 
tive ornament. 

K'ang-hsi  (i 662-1 722).  Height  8>^  inches. 

34,  35.  TWO  CYLINDRICAL  COVERED  POTS, 
Powder-blue.  White  reserves  filled  with  various  floral 
and  other  ornament. 

K'ang-hsi  (1662-1722).  Height  434"  inches. 

36.  TRIPLE  GOURD  BOTTLE.  Powder-blue, 
with  various  white  reserves  filled  with  diverse  decora- 
tion. 

K'ang-hsi  (1662-1722).  Height  loK  inches. 

37.  OVOID  VASE  with  short,  straight  neck.  Pow- 
der-blue, with  white  reserves  of  various  shapes  filled 
with  diverse  ornament. 

K'ang-hsi  (i 662-1 722).  Height   \o%  inches. 

38.  39.  TWO  SMALL  BOTTLES  with  flaring  necks. 
Powder-blue,  with  reserves  containing  landscape  and 
other  decoration. 

K'ang-hsi  (1662- 1722).  Height  7  inches. 

42 


OF   CHINESE    PORCELAINS  [CASE    II 

40.  SMALL    TEAPOT.     Powder-blue,    with    two 
white  reserves  containing  decoration  in  dark  blue. 
K'ang-hsi  (i 662-1 722).  Height  6}4  inches, 

41.  GOURD-SHAPED  TEAPOT.  Powder-blue, 
with  reserves  filled  with  various  ornament,  the  blue 
ground  overlaid  with  floral  and  other  ornament  in  gold. 
K'ang-hsi  (i  662-1 722).  Height   8  inches. 


CASE  HI 

42,43.    TWO  PLATES.     Powder-blue,  one  with  a 
white  centre  filled  with  a  decoration  in  blue,  the  other 
having  various  reserves  filled  with  diverse  decoration. 
K'ang-hsi  (1662-1722).  Diameter  11  inches. 

44  to  46.  GARNITURE  OF  THREE  PIECES: 
globular,  long-necked  bottle,  and  two  cylindrical,  club- 
shaped  vases.  Powder-blue;  reserves  of  various  shapes 
containing  a  multiplicity  of  decorative  ornament,  the 
blue  ground  on  the  bottle  overlaid  with  faint  arab- 
esques in  gold.  On  44  the  large  reserve  panels  are 
filled  with  the  flowers  of  the  four  seasons  ssu  chi  hua  (the 
tree  peony  of  spring,  the  lotus  of  summer,  the  chry- 
santhemum of  autumn,  and  the  prunus  of  winter). 
On  46  peonies  and  chrysanthemums  with  phoenixes 
occupy  two  of  the  panels,  the  alternate  panels  being 
filled  with  groups  of  the  emblems  of  art  and  culture 
known  as  po  ku  (the  hundred  antiques).  On  45  two 
of  the  panels  are  decorated  with  hanging  openwork 
baskets  filled  with  lotus  and  other  flowers;  the  al- 
ternate two  panels  with  groups  of  po  ku  emblems. 
K'ang-hsi  (1662-1722).  Height  18K  inches. 

(plate    V,    NOS.   44   AND   46) 

47.    CYLINDRICAL  VASE  with  flaring  lip.     Pow- 

43 


CASE    III]  THE   MORGAN    COLLECTION 

der-blue,  with  longitudinal  reserves  containing  decora- 
tion of  two  graceful  female  figures,  one  carrying  a 
screen  fan,  the  other  a  ju-i  sceptre. 
K'ang-hsi  (1662- 1722).  Height   11   inches. 

48.  CYLINDRICAL  VASE,  club-shaped.  Powder- 
blue,  with  reserves  containing  two  large  panels  of  war 
scenes,  together  with  smaller  panels  of  landscape  scen- 
ery, and  with  groups  of  playing  children  in  the  two  re- 
serves on  the  neck  of  the  vase. 

K'ang-hsi  (1662- 1722).  Height  18K  inches. 

49.  EWER  with  Louis  XVI  mount.  Powder-blue, 
decorated  with  three  reserve  panels  of  foliated  outline 
containing:  (i)  The  three  floral  emblems  of  long  life, 
suna  chu  mei  (the  pine,  bamboo  and  prunus) ;  (2)  A 
pair  of  mandarin  ducks  in  a  lake  with  lotus  flowers 
growing:  (3)  Pairing  birds  with  blossoming  peach  trees 
and  other  spring  flowers;  the  blue  ground  overlaid  with 
floral  arabesques  in  gold. 

K'ang-hsi  (1662- 1722).  Height  13X  inches. 

50.  CYLINDRICAL  VASE,  club-shaped.  Powder- 
blue,  with  longitudinal  and  other  reserves  containing 
delicately  drawn  and  isolated  floral  decoration  in  red, 
the  blue  ground  overlaid  with  various  floral  and  other 
ornament  in  gold. 

K'ang-hsi  (i  662-1 722).  Height  17^  inches. 

51.  CYLINDRICAL  VASE  with  flaring  mouth. 
Powder-blue,  with  white  reserves  containing  decoration 
of  floral  designs. 

K'ang-hsi  (1662-1722).  Height  10  inches. 

52  to  55.  GARNITURE  OF  FOUR  PIECES:  two 
globular  jars  with  mandarin  covers,  and  two  bottles 
with  long,  straight  necks.     Powder-blue;  reserves  of 

44 


OF   CHINESE    PORCELAINS  [CASE    III 

various  shapes  filled  with  floral  and  other  decoration. 
Faint  tracery  of  gold  ornament  on  the  blue  ground. 
K'ang-hsi  (1662-1722).    Height  ii^^and  io>^  inches. 

56  to  58.    THREE  BOTTLES,  globular,  with  long 
bulbous   necks   and   trumpet   mouths.     Powder-blue; 
reserves  with  floral  decoration  in  dark  blue. 
K'ang-hsi  (1662- 1722).  Height  9  inches. 

59.    GLOBULAR  BOTTLE,  the  flaring  mouth  of 
the  body  supporting  a  long,  bulbous  neck.     Powder- 
blue  reserves  with  floral  and  other  decorations  in  dark 
blue. 
K'ang-hsi  (1662- 1722).  Height  10  inches. 

60  to  62.    THREE    TEAPOTS.     Powder-blue;    re- 
serves with  designs  of  figures  and  landscapes. 
K'ang-hsi  (1662-1722).  Height  8K  inches. 

63.    VASE  with  tapering,  expanding  and  bulbous 
neck.     Powder-blue;  reserves  containing  landscape  and 
other  decoration  in  dark  blue. 
K'ang-hsi  (i 662-1 722).  Height  9  inches. 

64,65.    TWO    PERFUME-SPRINKLERS       with 
ovoid  bodies  and  slender,  tapering  necks.     Powder-blue 
white  reserves  containing  floral  decoration  in  blue. 
K'ang-hsi  (1662- 1722).  Height  8  inches. 


CASE  IV 

66.  LARGE  PLATE.  Powder-blue,  with  central 
octagonal  foliated  reserve  showing  a  landscape  with 
a  ch'iltn  regarding  a  phoenix  descending  from  the 
clouds,  round  the  edge  eight  foliated  ovals,  enclosing 
emblems  and  flowering  plants  in  brilliant  enamels. 

45 


CASE    IV]  THE    MORGAN    COLLECTION 

Mark:  An  open  lozenge  (fang-sheng)  tied  with  fillets. 
K'ang-hsi  (1662-1722).  Diameter  16  inches. 

67,68.  TWO  TALL  VASES  with  wide,  bulbous 
necks,  spreading  lips  and  bases.  Powder-blue,  with 
reserve  panels  painted  in  under-glaze  blue  with  land- 
scapes, po  ku  emblems  and  flowers,  filled  in  with  over- 
glaze  iron  red  in  some  of  the  details  and  with  occasional 
touches  of  gold. 

K'ang-hsi  (i  662-1 722).  Height  18X  inches. 

(plate  xii) 

69.  OVIFORM  VASE  with  cylindrical  neck  and 
spreading  lip.  The  three  figures  in  the  decoration  of 
this  vase  are  Fu,  Lu,  and  Shou,  the  Taoist  star  gods 
of  happiness,  rank  and  longevity.  The  longevity 
characters  on  the  neck  are  alternated  with  swastika 
symbols,  the  combination  reading  wan  shou  (a  myriad 
ages!). 
K'ang-hsi  (1662-1722).  Height  17  inches. 

(plate    V,    CENTRE) 

70  to  72.  GARNITURE  OF  THREE  PIECES:  two 
ovoid  jars  with  caps,  and  beaker  vase.  Powder-blue, 
with  reserves  of  varied  forms  showing  the  flowers  of  the 
four  seasons,  with  birds  and  insects.  One  jar  and  the 
beaker  have  gold  decoration  on  the  blue. 
K'ang-hsi    (1662- 1722).      Height  13K  and  18  inches. 

(plate  VI,  NOS.  70  AND  72.) 

73  to  76.  GARNITURE  OF  FOUR  PIECES:  two 
ginger-jars,  and  two  pear-shaped  bottles  with  long, 
bulbous  necks.  Powder-blue;  reserves  of  various  shape 
showing  emblems  and  sprays  of  flowering  plants  and 
birds  in  blue. 
K'ang-hsi  (1662- 1722).         Height  10  and   12  inches. 

46 


OF   CHINESE    PORCELAINS  [CASE    IV 

77,  78.    TWO  COVERED   BOWLS.     Powder-blue, 
with  floral  decoration  in  the  glaze. 
K'ang-hsi  (1662- 1722).  Diameter  ^}^  inches. 

79,80.    TWO   CLUB-SHAPED   VASES.     Powder- 
blue,  each  with  two  quadrilateral  panels  showing  one 
of  the  Immortals  coming  on  a  dragon  across  the  sea. 
K'ang-hsi  (1662-1722).  Height  9^  inches. 

81,82.    TWO    PERFUME-SPRINKLERS.       Sim- 
ilar to  No.  64. 
K'ang-hsi  (1662-1722).  Height  8^  inches. 

83,  84.    TWO  BOTTLES.     Similar  to  No.  59. 
K'ang-hsi  (1662- 1722).  Height   io>^  inches. 

85,86.    TWO  OVOID  BOTTLES  with  cup-shaped 
mouths  and  bulbous  collars.     Powder-blue,  each  with 
three  pomegranate-shaped  reserves  showing  emblems 
and  flowering  shrubs. 
K'ang-hsi  (i  662-1 722).  Height  9K  inches. 

87.    PERFUME-SPRINKLER.     Powder-blue;  sim- 
ilar to  No.  64. 
K'ang-hsi  (1662- 1722).  Height  8X  inches. 


CASE  V 

88  to  92.  GARNITURE  OF  FIVE  PIECES.  Blue 
and  white  vases,  known  as  Nankeen  porcelain.  Dec- 
orated with  a  series  of  panels  containing  various  de- 
signs, of  which  the  figures  of  women  were  known  as 
" Lange  Lijsen,"  or  "long  Elizas,"  a  title  by  which 
vases  of  this  type  were  distinguished. 

47 


CASE   V]  THE   MORGAN    COLLECTION 

Mark:  Leaf-mark  on  Nos.  88, 90, 92;  on  Nos.  89  and  91 , 
Yu  (jade). 

K'ang-hsi  (i 662-1 722).  Height   19  inches. 

(plate  vii) 

93,  94.  TWO  FLASK-SHAPED  BOTTLES.  Pow- 
der-blue, each  with  two  indented  oval  reserves  showing 
hai-shou  (sea-monsters)  standing  precariously  on  rocks 
in  mid-sea,  and  breathing  forth  flames,  and  two  fan- 
and  two  pomegranate-shaped  reserves  with  shrimps 
and  flowering  plants. 
K'ang-hsi  (i  662-1 722).  Height  17  inches. 

(plate    IV.     FIGS.    I   AND  3) 

95.  FLASK-SHAPED    BOTTLE.        Powder-blue. 
The  glaze  of  exceeding  depth  and  richness  of  color. 
K'ang-hsi  (1662-1722).  Height   16  inches. 

96.  GLOBULAR  BOTTLE  with  wide  bulbous  neck. 
Chrysanthemum  and  other  decoration. 

K'ang-hsi  (1662- 1722).  Height  7X  inches. 

97.  CLUB-SHAPED    VASE.     Powder-blue. 
K'ang-hsi    (1662- 1722).  Height   10  inches. 

98.  99.  TWO  OVOID  BOTTLES  with  tapering  and 
expanding  necks.  Decoration  of  flowers  and  plant- 
forms. 

Ch'ien-lung  (1736-1795).  Height  9  inches. 

100.    SMALL  TEAPOT.     Decoration  of  landscape 
and  plant  forms. 
Chia-ching  (i 522-1 566).  Height  3^  inches. 

100  A,B.  PAIR  OF  LARGE  ROUND  DISHES  of  the 
K'ang-hsi  period.     They  have  powder-blue   borders 

48 


OF   CHINESE    PORCELAINS  [CASE   V 

overlaid  with  gold  in  rich  floral  scrolls  and  panels 
filled  with  po  ku  vases  and  emblems,  so  as  to  frame  a 
central  picture  with  a  foliated  outline  shaped  like  an 
eight-petalled  lotus  blossom,  which  is  framed  with  a 
floral  scroll  in  white  reserve  on  a  coral  red  ground. 
The  picture,  which  is  enamelled  in  brilliant  colors,  with 
occasional  touches  of  gold,  exhibits  a  Chinese  Em- 
peror and  Empress  seated  in  a  pavilion  on  the  bank 
of  a  lake  with  dragon  screens  in  the  background.  In 
the  foreground  court  ladies  are  gathering  lotus  flowers 
in  boats  on  the  lake,  and  one  is  kneeling  before  the 
imperial  dal's  presenting  one  of  the  flowers. 
Mark:  A  pair  of  fish  suspended  by  fillets  within  a  large 
double  ring. 
Kang-hsi  (1662- 1722).  Diameter  20 >^  inches. 

loi,  102.    TWO  GLOBULAR  BOTTLES  with  tap- 
ering necks  and  expanding  lips.     Decoration  of  diverse 
ornament  and  leaf-forms. 
K'ang-hsi  (1662- 1722).  Height  9X  inches. 

103.  CUP.  Powder-blue,  with  reserves  containing 
spray  of  flowers. 

K'ang-hsi  (1662- 1722).  Height  3  inches. 

104,  105.  TWO  COVERED  PERFUME-BOXES. 
Arabesques  of  flowers  and  leafage.  The  handles  are 
modelled  in  open-work  relief  in  the  shape  of  a  branch  of 
pine  and  two  squirrels,  and  tinted  green  with  touches 
of  black. 

Mark:  A  ling-chih  (sacred  fungus). 

Perhaps  of  older  date  than  K'ang-hsi  (1662- 1722). 

Diameter  ^yi  inches. 

106,  107.    TWO  MINIATURE  COVERED  POTS. 
Closely  woven  decoration  of  floral  ornament. 
K'ang-hsi  (1662- 1722).  Height  2%  inches. 

49 


CASE    V]  THE   MORGAN    COLLECTION 

io8.  GLOBULAR  BOWL.  Butterflies  and  melons 
in  varying  blue. 

Mark:  A  pencil  brush  (pi)  and  an  ingot-shaped  cake  of 
ink  (ting)  tied  round  with  fillets. 
K'ang-hsi  (1662-1722).  Diameter  2^  inches. 

109.  MINIATURE  BOWL.  Figures  and  land- 
scape. 

Mark:  HsUan-ie    nien    chih  (Made    in    the    reign    of 

Hsiian-te) .     [  1 426- 1 43  5 — apocryphal.] 

K'ang-hsi  (1662-1722).  Diameter  2>^  inches. 

1 10.  MINIATURE  VASE,  cylindrical,  with  spread- 
ing mouth.     Decoration  of  tall  female  figures,  etc. 
Mark:   Yu  (jade). 

K'ang-hsi  (1662-1722).  Height  4^  inches. 

111.  MINIATURE  TEA  POT.  Delicate  decora- 
tion of  leaf-forms  and  bands  of  ornament. 

Mark:   Yii  (jade). 

K'ang-hsi  (1662-1722).  Height  2)4  inches. 

1 12.  SMALL  OVOID  VASE  with  short,  wide  neck. 
Decoration  of  dragon  amid  fire-emblems  and  cloud- 
forms. 

K'ang-hsi  (1662- 1722).  Height  4K  inches. 

113.  MINIATURE  TEA-POT.  Delicate  decoration 
of  leaf-forms  and  bands  of  ornament  in  brilliant  blue. 
Mark:   Yii  (jade). 

K'ang-hsi  (1662-1722).  Height  2^  inches. 

1 14.  MINIATURE  VASE,  cylindrical,  with  stopper. 
Decoration  of  incense-burners  and  emblems. 

Mark:  Ch'eng-hua  nien  chih   (Made  in   the   reign  of 

Ch'eng-hua) .     [  1 465- 1 487 — apocryphal.] 

K'ang-hsi  (1662- 1722).  Height   5   inches. 

50 


OF   CHINESE    PORCELAINS  [CASE    VI 

115.  MINIATURE  VASE,  ovoid.  With  landscape. 
Mark:   Yu  (jade). 

K'ang-hsi  (1662-1722).  Height  4K  inches. 

116.  MINIATURE  VASE,  cylindrical,  with  metal 
top.     Decoration  of  figures,  etc. 

Mark:  Ch'eng-hua  nien  chih    (Made  in   the   reign   of 

Ch'eng-hua) .     [  1 465-1 487 — apocryphal.] 

K'ang-hsi  (1662-1722).  Height  4^  inches. 

117.  MINIATURE  VASE,  cylindrical.  With  fig- 
ures, etc. 

Mark:  Ch'eng-hua  nien  chih    (Made  in   the   reign  of 

Ch'eng-hua) .     [  1 465- 1 487 — apocryphal.] 

K'ang-hsi  (1662-1722).  Height  4^  inches. 

118.  ROUGE  BOX.     Decoration  of  figures,  etc. 
Mark:  Ta  Ming  HsUan-te  nien  chih  (Made  in  the  reign 
of  Hsiian-t^  of  the  great  Ming  dynasty).     [1426-1435 — 
apocryphal.] 

K'ang-hsi  (1662-1722).  Diameter  2^  inches. 

1 18  A,B.  TWO  LARGE  POWDER-BLUE  PLATES, 
each  with  a  large  reserve,  foliated,  containing  landscape 
with  figures  on  a  white  ground. 
K'ang-hsi  (1662-1722).  Diameter  26  inches. 

CASE  VI 

118C,  D.  TWO  LARGE  CIRCULAR  DISHES  of 
somewhat  similar  form  and  style  as  the  pair  hanging  in 
case  V  (lOoA,  B),  and  having  the  same  mark  under- 
neath. The  central  pictures  are  of  the  same  eight- 
petalled  shape,  but  not  framed  in  coral  red.  The  pic- 
tures, brilliantly  enamelled,  in  early  K'ang-hsi  colors, 
with  gilding,  are  those  of  imperial  receptions  with  the 
usual  state  surroundings.  In  the  first  the  Emperor 
and  Empress  are  seated  in  a  palace  pavilion,  with  a 

51 


CASE    Vl]  THE   MORGAN    COLLECTION 

group  of  ladies  of  the  court  on  either  side,  and  children 
are  moving  among  the  high  mandarins  assembled  in 
audience.  The  second  shows  an  envoy  kneeling  be- 
fore the  throne  holding  up  his  baton  of  office,  having 
just  presented  his  credentials,  while  an  attendant  holds 
a  seal,  or  some  other  object,  wrapped  in  brocade. 
Note  the  dragon  scroll  on  the  steps  in  the  foreground, 
and  the  boldly  designed  four-clawed  feet  grasping  the 
flaming  jewel  of  omnipotence  on  the  screen  in  the  back- 
ground, and  the  gilded  stupa  in  the  palace  grounds 
above.  The  powder-blue  borders  of  the  first  are  en- 
riched with  gold  scrolls  and  archaic  lizard-like  dragons 
{cVih  lung).  The  second  has  lotus  scrolls  interrupted 
by  panels  oi  po  ku  emblems. 
K'ang-hsi  (1622- 1722)  Diameter  20 >^  inches. 

1 19,  120.    TWO  VASES,  cylindrical,  with  short,  wide 
necks   and   flaring   lips.     An   intricate  decoration   of 
floral  and  other  forms,  with  dragons,  reserved  in  the 
blue-cobalt  ground. 
K'ang-hsi  (1662-1722).  Height  17^^  inches. 

121.  OVOID  VASE  with  cover.  Reserves  on  a 
dark-blue  ground  with  varied  decoration  of  aquatic 
plants,  flowers,  leaves,  butterflies,  utensils,  and  house- 
hold ornaments. 

Yung-cheng  or  Ch'ien-lung  (i 723-1 795). 

Height  I4>^  inches. 

122.  CYLINDRICAL  VASE.  Decoration  of  palm- 
ations  and  flower  sprays. 

Mark:  Leaf  and  knot. 

K'ang-hsi  (1662- 1722).  Height  i2><  inches. 

123.  124.  TWO  COVERED  VASES  with  handles. 
Reserves  in  outline  containing  decoration  of  diverse 
objects. 

K'ang-hsi  (1662- 1722).  Height  12>^  inches. 

52 


OF    CHINESE    PORCELAINS  [CASE    VI 

125.  HAWTHORN  POT.  With  reserves  contain- 
ing lions  upon  a  ground  of  broken-ice  pattern  in  dark, 
brilliant  blue. 

K'ang-hsi  (1662-1722).  Height  9>^  inches. 

126.  OVOID  BOTTLE  with  tall,  slender  bulbous 
neck.  Decoration  of  various  objects  and  Buddhistic 
emblems. 

K'ang-hsi  (1662- 1722).  Height   12^  inches. 

127.  GLOBULAR  BOTTLE  with  tapering,  tall 
neck.  Decoration  of  dragons  amid  fire-emblems  and 
cloud-forms. 

Mark:  Ta  Ming  Ch'eng-hua  nien  chih   (Made  in  the 
reign    of   Ch'eng-hua    of   the   great    Ming    dynasty). 
[  1 465-1 487 — apocryphal.] 
K'ang-hsi  (1662- 1722).  Height  7^  inches. 

128.  129.  TWO  BOTTLES,  globular,  with  short 
necks.  Closely  woven  and  finely  drawn  decoration  in 
brilliant  blue. 

Mark:  Lozenge  and  knot. 

K'ang-hsi  (1662-1722).  Height  'jyi  inches. 

130.  BOTTLE.  Similar  to  Nos.  128,  129,  with  dec- 
oration reversed. 

K'ang-hsi  (1662-1722).  Height  7  inches. 

131.  BOTTLE,  tapering  neck  and  expanding  foot. 
Decoration  of  dragons  amid  fire-emblems  and  cloud- 
forms. 

Mark:  Ta  Ming  Ch'eng-hua  nien  chih   (Made  in  the 
reign    of   Ch'eng-hua   of   the   great    Ming    dynasty). 
[  1 465- 1 487 — apocryphal.] 
K'ang-hsi  (1662-1722).  Height  8  inches. 

53 


CASE    Vl]  THE   MORGAN    COLLECTION 

132,  133.    TWO  BOTTLES,  globular,  with  tapering 
necks.     Decoration  of  plant  forms. 
K'ang-hsi  (1662- 1722).  Height  7^  inches. 

134.  WATER    POT   with    handles   perforated   for 
mounting  on  a  bird  cage,  decorated  with  imperial  five- 
clawed  dragons  in  the  midst  of  scrolled  clouds  pur- 
suing the  effulgent  jewel  of  omnipotence. 
K'ang-hsi  (1662- 1722). 

Height  3  inches.     Diameter  2^  inches. 

135,  136.  TWO  PERFUME-SPRINKLERS.  Var- 
ied floral  and  leaf-form  decoration. 

K'ang-hsi  (1662-1722).         Height  7  and  7^  inches. 

137,138.  TWO  GOURDS  with  silver  mounts.  Bril- 
liant blue  decoration  of  tall  female  figures  and  land- 
scapes. 

Mark:  Leaf  and  knot. 
K'ang-hsi  (1662-1722).  Height  6)4  inches. 

139,  140.    TWO  OVOID  VASES  with  caps.     Bril- 
liant chrysanthemum-pattern  in  dark  blue. 
Mark:  Leaf  and  knot. 
K'ang-hsi  (1662-1722).  Height  5 K  inches. 

141.    TEA-POT.     Blue  and  white  chrysanthemum- 
pattern,  and  figure  of  boy. 
Mark:  Pearl  and  knot. 
K'ang-hsi  (i 662-1 722).  Height  4  inches. 

142  to  146.    FIVE    CYLINDRICAL    VASES    OR 
CORNETS.     With   varied   decoration   of  landscapes, 
figures  and  animals,  and  other  objects. 
K'ang-hsi  (1662-1722).  Height  5  inches. 

54 


OF    CHINESE    PORCELAINS  [CASE    VI 

147,148.    TWO  MINIATURE  VASES.     Decoration 
of  leaf-forms,  etc. 
Mark:   YU  (jade). 
K'ang-hsi  (1662- 1722),  Height  5X  inches. 


149.  MINIATURE    PEAR-SHAPED    BOTTLE. 
Rocks,  flowers,  and  insects. 

K'ang-hsi  (1662- 1722).  Height  4}^  inches. 

150.  MINIATURE  OVOID  VASE.     Rocks,  flowers, 
and  insects. 

K'ang-hsi  (1662-1722). ,  Height  5 K  inches. 

151.  MINIATURE    WATER     BOTTLE.      Scroll 
chrysanthemum. 

Mark:  Ta  Ming  Chia-ching  nien  chih   (Made  in  the 
reign  of  Chia-ching  of  the  great  Ming  dynasty). 
Chia-ching  (i  522-1 566).  Height  4K  inches. 


CASE  VII 

152.  PLATE.  The  picture  shows  the  Chinese 
method  of  representing  a  dream,  as  a  scroll  proceeding 
from  the  head  of  the  sleeping  man  and  opening  out  to 
reveal  the  vision.  The  dreamer  here  is  a  scholar,  who 
appears  pictured  again  in  the  scroll  as  a  knight  errant 
rescuing  a  maiden  from  the  clutches  of  a  swashbuckler. 
The  four  oval  panels  in  the  border  of  the  plate  contain 
episodes  in  the  lives  of  celebrated  poets  and  wine  bib- 
bers. 

Mark:  Within   a   double   ring.     Ta   Ch'ing   Kang-hsi 
nien  chih. 
K'ang-hsi  (1662-1722).  Diameter  io>^  inches. 

55 


CASE   VlJ  THE   MORGAN    COLLECTION 

153.  PLATE.  Decorated  with  white  prunus  in  re- 
serve on  a  deep  blue  ground. 

K'ang-hsi  (1662- 1722).  Diameter  io>^  inches. 

1 54.  PLATE.  This  plate,  which  has  the  same  mark 
as  the  preceding,  is  decorated  with  a  dramatic  scene. 
The  border  is  of  swastika  pattern  diaper  interrupted  by 
foliated  panels  containing  peaches. 

Diameter  loK  inches. 

155.  156.  TWO  CYLINDRICAL  VASES  with 
spreading  mouths.  Elaborate  decoration  of  chrysan- 
themums and  lotus  in  reserve. 

K'ang-hsi  (i  662-1 722).  Height  20X  inches. 

157.  TALL  BEAKER  VASE.     Elaborate  decora- 
tion of  historic  scenes  embracing  a  numerous  assem- 
blage with  minor  subjects  and  various  detail  of  land- 
scape, etc.     Brilliant  blue  and  fine  white  paste. 
K'ang-hsi  (1662-1722).  Height  31  inches. 

158,  159.  TWO  WINE  POTS  with  dragon-headed 
handles.  Elaborate  floral  decoration.  Made  for  the 
Dutch  market. 

K'ang-hsi  (1662- 1722).  •        Height   \o}4  inches. 

160.  GINGER-JAR  with  wooden  cover.  Displays 
grotesque  scaly  sea  monsters  (hai-shou)  in  three  re- 
serve panels. 

K'ang-hsi  (i  662-1 722).  Height  9K  inches. 

161,  162.  TWO  OVOID  BOTTLES  with  tapering 
necks  and  spreading  lips.  Floral  decoration  in  foli- 
ated medallions. 

K'ang-hsi  (1662-1722).  Height  lo^  inches. 

56 


OF   CHINESE    PORCELAINS  [CASE   VII 

163.  GLOBULAR  BOTTLE.  The  common  Chin- 
ese art  motive,  known  as  the  "Happy  Meeting"  of  two 
friends.  The  picture  in  the  peach-shaped  panel  dis- 
plays a  mountain  landscape  with  a  traveller,  accom- 
panied by  an  attendant  carrying  his  lyre,  wending  his 
way  up  the  hill  to  visit  a  friend.  The  boat  by  which 
he  has  come  is  seen  behind.  Natural  floral  sprays  of 
peony  and  chrysanthemum  fill  in  the  intervals,  in  con- 
nection with  a  pencil  brush,  a  cake  of  ink,  and  a  jui- 
sceptre,  intended  to  be  read,  rebus  fashion,  Pi  ting  ju-i 
(May  every  wish  be  fulfilled). 

K'ang-hsi  (1662- 1722).  Height  9>^  inches. 

164.  DOUBLE  BOTTLE.  Similar  to  Nos.  17  and 
18,  Case  C. 

K'ang-hsi  (i 662-1 722).  Height  7^  inches. 

165.  SHALLOW  BOWL.  Inside,  a  landscape  with 
figures  and  a  bat;  outside,  a  scroll  lotus-band  below  a 
/Mz-i-head  border. 

Mark:  Ch'eng-hua  nien  chih    (Made  in   the  reign  of 

Ch'eng-hua) .     [  1 465- 1 487 — apocryphal.] 

K'ang-hsi  (1662- 1722).  Diameter  4  inches. 

166  to  168.    THREE  OVOID  JARS.     Showing  the 
flowers  of  the  four  seasons  in  four  panels  surmounted 
by  scroll-leaves  and  ju-i  heads. 
K'ang-hsi  (1662- 1722).         Height  6  and  7K  inches. 

169,  170.    TWO  OVOID  BOTTLES  with  spreading 
lips.     Floral  and  arabesque  decoration. 
K'ang-hsi  (i  662-1 722).  Height  Syi  inches. 

171.    SMALL  OVOID  VASE.     Tall  female  figures 
and  flowering  shrubs  in  six  panels. 
K'ang-hsi  (1662-1722).  Height  4  inches. 

57 


CASE    VII]  THE    MORGAN    COLLECTION 

172.  OVOID  BOTTLE  with  short  bulbous  neck. 
Equestrian  figures  and  scenery. 

K'ang-hsi  (i 662-1 722).  Height   5   inches. 

173,  174.    TWO  PEAR-SHAPED   BOTTLES  with 
spreading  lips.     Chrysanthemums  and  other  flowers. 
K'ang-hsi  (i  662-1 722).  Height  5^  inches. 

175,  176.    TWO  OVOID  JARS.     Lange  Lijsen  and 
flowers  alternating  in  four  panels. 
K'ang-hsi  (1662-1722).  Height  3>^  inches. 

177,  178.    TWO    MINIATURE    FISH-JARS    with 
wooden  handles.     Figure  and  landscape  decoration  in 
dark  blue. 
K'ang-hsi  (1662-1722).  Height  i finches. 

179.  MINIATURE  OVOID  VASE  with  convex 
collar.  Ladies  and  flowers  alternating  in  six  panels. 
K'ang-hsi  (1662-1722).  Height  3>^  inches. 

180.  SMALL  PEAR-SHAPED  BOTTLE.  Ladies 
and  flowering  plants. 

K'ang-hsi  (1662- 1722).  Height  3^  inches. 

180A.  TALL  CLUB-SHAPED  VASE  of  imposing 
size  brilliantly  decorated  in  vivid  shades  of  cobalt  blue, 
with  a  moving  scene  representing  the  progress  of  a 
Chinese  Emperor,  perhaps  the  luxurious  Yang  Ti  of  the 
Sui  dynasty  (seventh  century,  A.  D.)  through  his  do- 
minions. The  emperor  is  seated  in  a  state  junk,  sur- 
rounded by  mandarins  and  with  court  ladies  playing 
music,  passing  through  the  usual  scenes  along  the  river 
banks.  The  shoulder  of  the  vase  is  encircled  by  a  band 
of  diverse  brocade  pattern,  interrupted  by  panels  of 
po  ku  emblems.     The  lower  half  of  the  cylindrical  neck 

58 


OF   CHINESE    PORCELAINS  [CASE   VIII 

is  decorated  with  bands  of  brocaded  design,  separated 
above  by  a  prominent  ring,  above  which  we  see,  on  the 
upper  half,  a  company  of  Taoist  genii  crossing  the  waves 
of  the  Cosmic  sea.  The  company  includes  Tung-fang 
So,  carrying  the  branch  of  peaches  on  his  shoulder 
which  he  has  stolen  from  the  tree  of  life,  riding  on  a 
lotus  leaf;  Liu  Han,  accompanied  by  his  familiar,  the 
three-legged  toad,  and  Wen  Ti,  the  god  of  literature, 
posed  on  the  head  of  a  fish  dragon  and  wielding  a  pencil 
brush. 
K'ang-hsi  (1662-1722).  Height  3 1 X  inches. 


CASE  VHI 

181,  182.    TWO  CYLINDRICAL  VASES,  tapering 
with  spreading  necks.     With  foliated  medallions  and 
large  floral  ornament  in  reserve  on  blue. 
K'ang-hsi  (1662-1722).  Height  19  inches. 

183.  OVOID  JAR  with  cover.  Chrysanthemum 
and  other  decoration,  and  three  large  reserves  with 
landscape  and  flowers. 

K'ang-hsi  (i 662-1 722).  Height  15  inches. 

184.  TRIPLE-GOURD  BOTTLE.  Decoration  of 
emblems  and  flowers. 

K'ang-hsi  (1662-1722).  Height  i  iX  inches. 

185.  186.  TWO  OVOID  BOTTLES  with  tapering 
necks  and  pyramidal  bases.  Fan  devices  and  em- 
blems alternating  in  six  panels. 

K'ang-hsi  (1662- 1722).  Height  lo^  inches. 

187.    HAWTHORN  JAR  with  ebony  cover. 
K'ang-hsi  (1662- 1722).  Height  10  inches. 

59 


CASE    VIIl]  THE   MORGAN    COLLECTION 

i88.    CYLINDRICAL  VASE.     With  bands  of  flow- 
ers and  dragons  amid  cloud-scrolls. 
K'ang-hsi  (1662- 1722).  Height  9^4' inches. 

189.  HAWTHORN  JAR.  Semi-blossoms  in  groups 
of  four  arranged  on  a  brilliant  blue  cracked-ice  ground. 
K'ang-hsi  (1662-1722).  Height  5^  inches. 

190,  191.  TWO  OVOID  JARS  with  covers.  A 
pheasant  on  a  rock  from  which  a  flowering  tree  spreads. 
K'ang-hsi  (1662-1722).  Height  7^  inches. 

192,  193.    TWO  OVOID  JARS  with  bell-shaped  lids 
and  bases.     With  armorial  device  of  European  origin, 
surrounded   by   floral   decoration.     On   bases   grapes 
and  squirrels,  and  above  lotus  petals  in  relief. 
Marks:  A  leaf  on  one,  a  ling-chih  on  the  other. 
K'ang-hsi  (1662-1722).  Height  7^  inches. 

194.  OVOID    JAR    with    cover.     Design    of   fine 
naturalistic  studies  of  lotus  and  peony  and  birds. 
K'ang-hsi  (1662-1722).  Height  8  inches. 

195.  HAWTHORN  JAR.  Design  similar  to  No. 
189,  but  with  larger  blossoms  and  a  darker  and  less 
lustrous  ground. 

K'ang-hsi  (1662-1722).  Height  5X  inches. 

196  to  198.    THREE   CYLINDRICAL   VASES   or 
cornets,   with   hunting   scenes   below,    and   flowering 
shrubs  above. 
K'ang-hsi  (1662-1722).  Height  5^  inches. 

199,  200.  TWO  GLOBULAR  BOTTLES  with  tap- 
ering necks.  Isolated  blossoms,  leaves,  and  lozenges. 
K'ang-hsi  (1662-1722).  Height  5X  inches. 

60 


OF    CHINESE    PORCELAINS  [CASE    VIII 

201,  202.    TWO    BOTTLES    with    short,    straight 
necks,  fire-emblems  and  sprays  of  flowers. 
K'ang-hsi  (1662- 1722).  Height  5  inches. 

203.  OVOID  JAR.  Chrysanthemum-scroll  deco- 
ration in  deep  blue. 

K'ang-hsi  (1662- 1722).  Height  6%  inches. 

204.  DOUBLE-GOURD  BOTTLE.  With  em- 
blems and  ju-i  heads. 

K'ang-hsi  (1662-1722).  Height  5  inches. 

205.  HANGING  VASE.  Ladies  and  flowers  alter- 
nating in  six  lotus-petal  panels. 

K'ang-hsi  (i 662-1 722).  Height  5  inches. 

206.  OVOID  VASE  with  short  trumpet  neck  and 
pyramidal  base.  With  Lange  Lijsen,  etc.,  in  six  petal- 
shaped  panels. 

K'ang-hsi  (1662-1722).  Height  5>^  inches. 

207.  208.  TWO  BOTTLES,  pear-shaped.  With 
floral  decoration. 

K'ang-hsi  (1662- 1722).  Height  4^  inches. 

209.  OVOID  MINIATURE  COVERED  JAR.  Dec- 
oration of  chrysanthemum-pattern  in  brilliant  deep 
blue. 

K'ang-hsi  (1662-1722).  Height  4  inches. 

210.  BOTTLE,  pear-shaped.  With  figures,  etc. 
K'ang-hsi  (1662-1722).  Height  4K  inches. 

211,212.    TWO  CORNETS.     Decoration  of  hunt- 
ing scenes  and  floral  devices. 
K'ang-hsi  (1662-1722).  Height  5^  inches. 

61 


CASE    IX]  THE   MORGAN    COLLECTION 

CASE    IX 

213,214.  TWO  CYLINDRICAL  VASES,  expand- 
ing at  top  and  bottom.  Series  of  pictures  of  the  Lotus 
Fete,  which  is  an  important  anniversary  in  the  palace 
life  of  the  imperial  court  at  Pekin,  and  often  affords 
a  motive  for  pictorial  art  in  China.  The  ladies  of  the 
court  are  culling  the  lotus  blossoms  from  a  lake  in  boats, 
in  the  presence  of  the  Emperor  and  Empress,  who  are 
seated  in  state  in  a  palace  pavilion  to  watch  the  scene 
and  to  have  the  flowers  offered  to  them  in  due  course. 
K'ang-hsi  (1662- 1722).  Height  19  inches. 

215.  LARGE  OVOID  VASE  with  cover.  Same 
motive. 

K'ang-hsi  (1662-1722).  Height  21  inches. 

(plate  xiii) 

216,217.    TWO  CYLINDRICAL  JARS  with  covers. 
Intricate  floral  and  other  ornament,  with  reserves  con- 
taining various  designs. 
Mark:  A  lozenge  with  ribbons. 
K'ang-hsi  (1662-1722).  Height  13 >^  inches. 

218.  OVOID  JAR  with  cover.  Reserves  contain- 
ing a  variety  of  designs  and  ground  of  floral  ornament. 
Mark:  A  pearl  with  ribbons. 

K'ang-hsi  (1662- 1722).  Height  12  inches. 

219.  OVOID  JAR  with  wooden  cover.     Palmated 
borders  enclosing  designs  of  flowers  and  plants. 
K'ang-hsi  (1662- 1722).  Height  g}4  inches. 

220.  221.  TWO  BOTTLES,  pear-shaped.  With 
various  floral  and  other  ornament. 

K'ang-hsi  (1662- 1722).  Height  9  inches. 

62 


OF   CHINESE    PORCELAINS  [CASE   IX 

222,  223.    TWO  BOTTLES,  globular,  with  trumpet- 
necks.     Geometric  pattern  enclosing  reserves  with  de- 
signs of  utensils  and  ornaments. 
K'ang-hsi  (1662- 1722).  Height  9X  inches. 

224  to  226.    THREE  COVERED  JARS.     Blue  re- 
serves between  palmated  borders. 
K'ang-hsi  (1662- 1722).  Height  6^  inches. 

227.  GLOBULAR   JAR.     Fire-emblems,    etc.,    on 
dark  blue. 

K'ang-hsi  (1662- 1722).  Height  4)4  inches. 

228,  229.    TWO  TEA-POTS.     Reticulated  ground, 
with  blue  reserves  containing  floral  ornament. 
K'ang-hsi  (1662-1722).  Height  8  inches. 

230,231.    TWO  OVOID  COVERED  JARS.     Blue 
reserves  with  floral  ornament. 
K'ang-hsi  (1662-1722).  Height  6>^  inches. 

232.  OVOID  COVERED  JAR.     Blue  reserves  with 
floral  ornament. 

K'ang-hsi  (i 662-1 722).  .    Height  8  inches. 

233.  MINIATURE  TEA-POT.     Floral  designs  in 
cross-hatched  blue. 

Mark:  A  lozenge. 

K'ang-hsi  (1662- 1722).  Height  4^4  inches. 

234.  MINIATURE  TEA-POT.    Various  ornament 
in  brilliant  blue. 

Mark:   Yii  (jade). 

K'ang-hsi  (1662- 1722).  Height  3  inches. 

63 


CASE    IX] 


THE   MORGAN    COLLECTION 


235,  236.   TWO  MINIATURE  TEA-POTS.     Floral 
ornament. 
Mark:  A  blue  leaf. 
K'ang-hsi  (1662-1722).  Height  4J4  inches. 

237,  238.    TWO  MINIATURE  TEA-POTS.    Vases 
and  diverse  ornaments. 
K'ang-hsi  (1662-1722).  Height  5X  inches. 

239.  CUP  AND  SAUCER.     Garden  with  birds  and 
flowers. 

K'ang-hsi  (i 662-1 722).  Diameter  2X  and  4}^  inches. 

240.  MINIATURE  TEA-POT.     Brilliant  blue  floral 
ornament. 

Mark:  Yil  (jade). 

K'ang-hsi  (i 662-1 722).  Height  3  inches. 

CASE  X 


241,242.    TWO  HAWTHORN  PLATES.    Groups 
of  prunus  blossoms  on  dark  blue  cracked-ice  ground. 
K'ang-hsi  (1662- 1722).  Diameter  io>^  inches. 

243,  244.  TWO  DOUBLE  GOURDS.  A  typical 
pair  of  large  gourd-shaped  vases  of  the  reign  of  Chia- 
ching,  of  the  Ming  dynasty,  with  the  mark  boldly  writ- 
ten underneath  in  two  columns,  each  of  three  charac- 
ters, painted  in  a  deep,  full-toned  blue;  and  all  the  de- 
tails of  the  decoration  of  Ming  style.  The  motive  of 
the  decoration  is  that  known  as  Chu  Hsien  Ching  Shou 
(The  Company  of  Taoist  Genii  Worshipping  the  God 
of  Longevity).  The  divinity  is  seated  on  a  rock  on  the 
lower  segment  of  the  vase  under  the  shade  of  spread- 
ing pines,  with  the  Polyporous  fungus  (ling-chih)  grow- 
ing from  the  ground,  and  his  other  attributes,  storks 
and  deer,  near  at  hand.    On  his  right  hand  are  the  twin 

64 


OF    CHINESE    PORCELAINS  [CASE    X 

genii  of  union  and  concord  {Ho  Ho  Erh  Hsien),  on  his 
left  Liu  Han  with  his  familiar,  the  three-legged  toad. 
The  remainder  of  the  circuit  is  occupied  by  the  eight 
genii  {Pa  Hsien),  recognized  by  the  various  attributes 
they  hold  in  their  hands. 

The  upper  segment  of  the  gourds  gives  another  view 
of  the  Taoist  realm  of  immortality,  with  two  hermits 
wandering  through  the  glades  of  paradise  {Shou  Shan), 
and  three  others  crossing  the  cosmic  sea  which  leads 
to  its  shores,  the  three  being  Liu  Han,  again  riding  on 
his  toad,  and  the  same  twin  genii  supported  by  their 
peculiar  attributes. 

Mark:  Ta  Ming  Chia-ching  nien  chih   (Made  in  the 
reign  of  Chia-ching  of  the  great  Ming  dynasty). 
Chia-ching  (i  522-1 566).  Height  21  inches. 

(plate  xiv) 

245.  WINE-JAR.  With  a  cover  containing  an  in- 
terior flange  designed  to  dip  into  a  body  of  oil  floating 
on  top  of  the  wine,  and  exclude  the  air.  A  Ming  wine 
jar  painted  in  blue  with  a  reunion  of  scholars  in  a  grove 
of  trees  on  a  mountain  side,  with  no  mythological  sur- 
roundings. There  are  four  principal  figures,  each  of 
which  is  accompanied  by  a  young  attendant  carrying 
respectively  a  ewer  of  wine,  a  branch  of  Olea  fragrans, 
the  scholar's  flower,  a  banner  fan,  and  a  lyre  wrapped 
in  its  brocaded  case.  The  decoration  is  completed  by 
formal  scrolls  enclosing  sprays  of  peony  and  chrysan- 
themum, single  blossoms  of  prunus,  cloud  scrolls  and 
emblems  of  good  fortune. 

The  "mark"  pencilled  in  detached  characters  round 
the  shoulder  of  the  vase  is  Ta  Ming  IVan-li  nien  chih. 
Wan-li  ( 1 573-1619).  Height  22  inches. 

(plate  xv) 

246.  JAR.  Minute  chrysanthemum  decoration  in 
dark  blue. 

65 


CASE    X]  THE    MORGAN    COLLECTION 

Mark:  Ta  Ming  Ch'eng-hua  nien  chih   (Made  in  the 
reign    of   Ch'eng-hua   of   the   great    Ming   dynasty). 
[  1 465- 1 487 — apocryphal .] 
K'ang-hsi  (1662-1722).  Height  9K  inches. 

247,  248.    TWO  BOTTLES,  globular,  with  bulbous 
necks.     Varied  floral  and  other  decoration. 
K'ang-hsi  (1662- 1722).  Height  13X  inches. 

249.  TALL  VASE.  Decoration  of  chrysanthemum- 
pattern  interrupted  by  a  band  of  geometrical  orna- 
ment. 

K'ang-hsi  (1662- 1722).  Height  16K  inches. 

250.  BOTTLE  with  short,  wide  neck.  Varied  or- 
nament of  separate  sprays  of  the  flowers  of  the  four 
seasons,  disposed  upon  bands,  and  medallions  of  blue. 
K'ang-hsi  (i 662-1 722).  Height  \o)4  inches. 

251.  BOTTLE  with  long  neck.  Chrysanthemum- 
pattern  in  light  blue. 

K'ang-hsi  (1662- 1722).  Height  g}i  inches. 

252  to  254.    THREE  COVERED  JARS,  tall,  ovoid. 
With  landscapes  and  figures  in  dark  blue. 
K'ang-hsi  (1662-1722).  Height  10  inches. 

255,  256.    TWO  VASES.     Chrysanthemum-pattern, 
with  bands  of  palmations  and  geometrical  ornament. 
K'ang-hsi  (1662- 1722).  Height  8^  inches. 

257.  PERFUME-SPRINKLER.  Chrysanthemum- 
pattern,  etc. 

K'ang-hsi  (i 662-1 722).  Height  yj4  inches. 

258,  259.  TWO  TEA-POTS.  Similar  to  Nos.  228, 
229. 

K'ang-hsi  (1662-1722).  Height  7^  inches. 

66 


OF    CHINESE    PORCELAINS  [CASE    X 

260,261.    TWO  PERFUME-SPRINKLERS.  Flow- 
ers, etc.,  in  dark  blue. 
K'ang-hsi  (1662-1722).  Height  7X  inches. 

262.  TEA-POT.  Two  disks  with  dragon  in  deep, 
brilliant  blue  and  Shou  mark  on  neck. 

Ch'ien-lung  (1736-1795).  Height  6  inches. 

263.  COVERED  CUP.  Brilliant  chrysanthemum 
decoration. 

Mark:  A  leaf  of  artemisia. 

K'ang-hsi  (1662- 1722).  Height  6%  inches. 

264.  MINIATURE  VASE.  Blue  reserves  with  flo- 
ral ornament. 

K'ang-hsi  (1662- 1722).  Height  3^  inches. 

265.  MINIATURE  VASE.     Lange  Lijsen,  etc. 
K'ang-hsi  (i 662-1 722).  Height  3^  inches. 

266.  MINIATURE  TEA-POT.  Warriors  and  floral 
ornament. 

K'ang-hsi  (1662- 1722).  Height  3>^  inches. 

267.  MINIATURE  TEA-POT.  Lange  Lijsen,  etc., 
in  reserves. 

Mark:   Yii  (jade). 

K'ang-hsi  (i 662-1 722).  Height  4  inches. 

268.  269.  TWO  CUPS  AND  SAUCERS.  Miniature 
egg-shell  porcelain  with  beautifully  drawn  designs  of 
various  subjects  in  brilliant  blue. 

Mark:  A  shell. 

K'ang-hsi  (1662-1722).    Diameter  i X  and  2>^  inches. 

270.    MINIATURE  TEA-POT.     Figures  and  var- 
ious decoration  in  brilliant  blue. 
K'ang-hsi  (1662- 1722).  Height  5X  inches. 


CASE    X]  THE    MORGAN    COLLECTION 

271,272.    TWO    MINIATURE    TEA-POTS.     Fig- 
ures, etc. 

Mark:  On  one,  a  shell. 
K'ang-hsi  (i 662-1 722).  Height  2}i  inches. 

273.    MINIATURE  TEA-POT.     Floral  designs  on 
blue  ground. 
Mark:  A  leaf. 
K'ang-hsi  (1662- 1722).  Height  3K  inches. 

247.    MINIATURE    BOTTLE.     Floral   designs  on 
blue  reserves. 
K'ang-hsi  (1662- 1722).  Height  2>^  inches. 

275.     MINIATURE  VASE,  ovoid.     Dark  blue  flow- 
ers. 
K'ang-hsi  (1662-1722).  Height  3K  inches. 


CASE  XI 

276,  277.    TWO   PLATES.     Dramatic   scenes   suc- 
cessive to  that  represented  on  the  plate  No.  154,  and 
with  a  similar  six-character  mark,  Ta  Ch'ing  Kang-hsi 
nien  chih. 
Kang-hsi  (1662- 1722).     •  Diameter  lo^  inches. 

278,  279.  TWO  VASES.  One  of  graceful  outline 
and  pleasing  decoration,  having  the  neck  defined  by 
a  prominent  ring  in  the  middle,  decorated  with  sprays 
of  prunus  standing  out  in  white  relief,  emphasized  by  a 
background  of  shaded  blue.  The  body  is  covered  in 
a  similar  style  with  magnolia  trees,  the  white  of  the 
blossoms  of  which  are  heightened  by  blue  halos. 

The  beaker  is  of  similar  style  decorated  with  blossom- 
ing prunus  trees  growing  from  rocks,  together  with  an 
occasional  spray  of  bamboo  and  pine.    The  mark    of 

68 


OF   CHINESE  PORCELAINS  [CASE   XI 

both  pieces  is  a  ling-chih  (sacred  fungus),  enclosed  with- 
in a  double  ring. 
K'ang-hsi  (1662-1722).    Height  17K  and  18K  inches. 

280.  CYLINDRICAL  VASE.  Souffle  glaze,  "soft 
paste";  with  isolated  figure  of  lion,  in  blue,  over  black 
linear  drawing  on  the  biscuit.  An  eagle  similarly 
drawn  swoops  threateningly  above.  The  mytholo- 
gical lion  roaring  at  the  eagle,  suggests  the  eternal 
cosmic  conflict  of  terrestrial  and  celestial  powers,  ac- 
cording to  Chinese  theories  about  the  elements. 
Ch'ien-lung  (1736-1795).  Height  19K  inches. 

(plate  xvii) 

281,  282.    TWO    BOTTLES    with    bulbous    necks. 
Floral  and  other  decoration  in  reserved  panels. 
K'ang-hsi  (1662-1722).  Height  9^  inches. 

283.  BOTTLE.     Floral  decoration  and  ornament  in 
blue  reserves. 

K'ang-hsi  (1662-1722).  Height  lo^  inches. 

284.  OVOID  VASE.  Egg-shell  porcelain,  with  re- 
serves containing  beautifully  modelled  designs  in  the 
paste  with  a  relieved  border.  Finely  drawn,  linear 
work  of  butterflies  and  flowers  and  various  ornaments. 
The  two  principal  panels,  worked  in  white  relief,  con- 
tain respectively  a  pheasant  perched  upon  a  rock  be- 
side magnolia  yulan  trees  in  blossom,  and  a  phoenix 
flying  toward  a  clump  of  tree  peonies  (Pceonia  moutan). 
Each  bird  has  usually  its  favorite  floral  association  in 
Chinese  art,  and  these  are  typical  instances. 
Ch'ien-lung  (1736-1795).  Height  10^  inches. 

285.  BOTTLE.     Similar  to  Nos.  185,  186. 
K'ang-hsi  (1662-1722).  Height  io)4  inches. 

69 


CASE    Xl]  THE   MORGAN    COLLECTION 

28610289.    GARNITURE    OF    FOUR    PIECES: 
two  cylindrical  vases  and  two  covered  jars.    Flowers  in 
two  foliated  panels;  floral  ornament  and  ju-i  heads. 
K'ang-hsi  (1662-1722).  Height  6j4  inches. 

290.  OVOID  BOTTLE.    Similar  to  Nos.  loi,  102. 
K'ang-hsi  (1662-1722).  Height  g}^  inches. 

291.  PEAR-SHAPED  BOTTLE.  Flowering  plants 
and  shrubs. 

K'ang-hsi  (1662- 1722).  Height  y^  inches. 

292.  MINIATURE  GLOBULAR  BOTTLE.  Chrys- 
anthemum-scrolls and  sweet-flag  leaves  in  intense  blue. 
K'ang-hsi  (1662- 1722).  Height  5X  inches. 

293,294.    TWO  GLOBULAR  BOTTLES.  Four  pan- 
els with  emblems  and  shrubs  alternately. 
K'ang-hsi  (i 662-1 722).  Height  7^^  inches. 

295.  HAWTHORN  CUP.  Prunus  blossoms  on 
ground  of  cracked-ice.  Bands  of  ornament  on  stem 
and  foot. 

K'ang-hsi  (1662- 1722).  Height  4K  inches. 

296.  MINIATURE  PEAR-SHAPED  BOTTLE. 
Shrubs  and  flowers  in  blue. 

K'ang-hsi  (1662- 1722).  Height  4K  inches. 

297  to  299.    THREE     MINIATURE      BOTTLES. 
Scrolls  in  medallions  on  a  cracked-ice  ground. 
K'ang-hsi  (1662- 1722).  Height  3  inches. 

300.    MINIATURE  OVOID  BOTTLE.     Landscape 
and  figures  in  intense  blue. 
Mark:  Ta  Ming  Chia-ching  nien  chih   (Made  in  the 

70 


OF    CHINESE    PORCELAINS  [CASE    XI 

reign  of  Chia-ching  of  the  great  Ming  dynasty),   [i  522- 

1 566 — apocryphal.] 

K'ang-hsi  (1662-1722).  Height  2X  inches. 

301.    MINIATURE  OVOID  JAR.  Chrysanthemum- 
scroll  in  intense  blue. 
K'ang-hsi  (1662-1722).  Height  lYi,  inches. 

302,303.    TWO    MINIATURE     PEAR-SHAPED 
BOTTLES.     Each  with  four  Lange  Lijsen  and  two  jar- 
dinieres of  plants. 
K'ang-hsi  (1662-1722).  Height  3X  inches. 

304.  MINIATURE  OVOID  JAR.  Four  Lange  Li- 
jsen and  two  flowering  plants  in  six  petal-shaped  panels. 
K'ang-hsi  (1662- 1722).  Height   3    inches. 

305,  306.  TWO  MINIATURE  OVOID  BOTTLES. 
Floral  ornament  in  foliated  medallions. 

K'ang-hsi  (1662-1722).  Height  3X  inches. 

307.    MINIATURE  OVOID  JAR.     Scroll  lotus  in 
foliated  medallions  and  emblems. 
K'ang-hsi  (1662- 1722).  Height  32^  inches. 


CASE  XII 

308.  LARGE  PLATE.  In  the  centre  a  scalloped 
circle  with  sprays  of  flowers,  etc.;  outside  a  ground- 
work of  geometrical  ornament  and  eight  foliate  reserves 
radiating  from  the  centre  circle,  each  with  a  flowering 
plant,  peony,  chrysanthemum,  plum,  and  lotus,  and 
four  reserves  with  baskets  of  fruit,  peaches,  and  pome- 
granates alternately,  with  leaves. 
K'ang-hsi  (1662- 1722).  Diameter  22  inches. 

71 


CASE    XIl]  THE    MORGAN    COLLECTION 

309,310.    TWO  JARS.     White  crackle.     Each  deco- 
rated with  a  lake  and  mountain  landscape,  in  intense 
blue. 
Ch'ien-lung  (i 736-1 795).  Height  8^  inches. 

311.  COVERED  JAR.  Pure  white  porcelain,  Lam^^ 
Lijsen  pattern  in  deep  blue,  with  three  rows  of  round- 
topped  panels,  the  upper  tier  showing  the  eight  Immor- 
tals with  their  distinctive  emblems;  the  second,  ladies 
playing  on  various  musical  instruments,  and  the  lower, 
ladies  standing  at  ease,  every  third  panel  having  a  jar- 
diniere on  a  stand  with  flowering  plant. 

Mark:  Ta  Ming  Chia-ching  nien  chih   (Made  in  the 
reign  of  Chia-ching  of  the  great  Ming  dynasty).  [1522- 
1 566 — apocryphal.] 
K'ang-hsi  (1662- 1722).  Height  19  inches. 

312.  GLOBULAR  FLASK  with  long  neck.  Pure 
white  porcelain,  decorated  in  brilliant  blue.  The  mo- 
tive of  the  decoration  of  this  fme  piece  is  the  transmi- 
gration of  the  fish  into  the  dragon,  emblematic  of  the 
success  of  the  literary  aspirant  to  official  rank.  The 
fish,  a  gigantic  carp  in  the  picture,  has  surmounted  the 
Lung  Men,  or  "Dragon's  Gate,"  seen  as  two  rocks  with 
the  swirling  waves  of  the  Yellow  River  between  them, 
and  is  just  about  to  enter  the  Yii  Men,  the  "Jade  Por- 
tal," of  the  celestial  regions,  a  two-storied  pavilion, 
where  it  attains  its  metempsychosis.  The  dragon  ap- 
pears coiled  round  the  neck  and  shoulder  of  the  bottle, 
a  powerfully  designed,  four-clawed  scaly  monster, 
enveloped  in  flames,  as  it  ascends  into  the  firmament 
pursuing  the  effulgent  jewel  of  omnipotence. 
K'ang-hsi  (1662- 1722).  Height  17^  inches. 

313.  BEAKER  with  spreading  mouth.  Lange  Lijsen 
pattern  on  pure  white  porcelain  in  dark  blue.  Four 
tiers  of  panels  with  foliated  tops.     In  the  top  tier  chil- 

72 


OF   CHINESE    PORCELAINS  [CASE    XII 

dren  are  with  the  ladies;  in  the  second  they  are  seated; 

in  the  third  they  carry  musical  instruments. 

Mark:  Ta  Ming  Chia-ching  nien  chih   (Made  in  the 

reign  of  Chia-ching  of  the  great  Ming  dynasty),   [i  522- 

1 566 — apocryphal.] 

K'ang-hsi  (i  662-1 722).  Height  17^  inches. 

314,315.    TWO  PEAR-SHAPED  BOTTLES.    Ar- 
abesque borders  at  equal  distances  apart;  from  the 
lower  six  depend  precious  objects. 
K'ang-hsi  (1662- 1722).  Height  8^  inches. 

316,  317.    TWO  VASES,  one  with  cylindrical  cover. 
Divided  into  six  panels  by  indented  vertical  lines,  each 
decorated  with  Lange  Lijsen. 
Mark:  A  leaf. 
K'ang-hsi  (1662- 1722).  Height  12^  inches. 

318.  FLASK-SHAPED  BOTTLE.  The  body  di- 
vided into  four  vertical  sections  with  foliated  tops,  con- 
taining rocks  and  shrubs  and  emblems  alternately; 
between  the  sections  sprays  of  flowering  shrubs  below, 
and  ling-chih. 
K'ang-hsi  (1662-1722).  Height  \6}i  inches. 

319  to  321.  THREE  VASES,  inverted  pear-shaped; 
two  with  bell-shaped  covers.  Decorated  with  female 
figures,  sections  of  buildings,  and  palm-trees  in  bright 
blue. 

Mark:  A  leaf  on  one. 
K'ang-hsi  (1662-1722).  Height  8   inches. 

322,  323.    TWO  OVOID  VASES  with  long,  slender 
necks,  and  tiger-head  handles.     Divided  into  six  panels 
shaped  as  lotus  petals,  enclosing  landscape  scenes  al- 
ternating with  vases  of  flowers. 
K'ang-hsi  (1662- 1722).  Height  io>^  inches. 

73 


CASE    XIl]  THE   MORGAN    COLLECTION 

324.    OVOID    VASE.    Chrysanthemums    and    leaf- 
less prunus  by  rocks. 
Ch'ien-lung  (1736-1795).  Height  7^  inches. 

325  to  329.  FIVE  CORNETS.  With  vases  of  flow- 
ering shrubs  above,  landscapes  on  the  centres,  and 
horsemen  hunting  rabbits  and  birds  on  bases  in  dark 
blue. 

Mark:  Leaf  within  double  ring. 
K'ang-hsi  (i  662-1 722).  Height  7^  inches. 

330.    PEAR-SHAPED  BOTTLE.     Landscape  with 
figures  in  dark  blue. 
K'ang-hsi  (1662- 1722).  Height  6)4  inches. 

331,332.    TWO  GLOBULAR   BOTTLES.      Lake, 
mountains,  and  buildings,  cavaliers  and  a  ferryman  in 
his  boat. 
K'ang-hsi  (1662-1722).  Height  8  inches. 

333.  CORNET.  On  base,  horseman,  hunting; 
on  centre,  landscape;  and  above,  jardinieres  of  flowers. 
Mark:  A  leaf  and  knot. 

K'ang-hsi  (1662- 1722).  Height  5^  inches. 

334.  PERFUME-SPRINKLER.  Scrolls  and  leaves 
of  sweet-flag. 

Mark:  A  leaf. 

K'ang-hsi  (i 662-1 722).  Height  yj4  inches. 

335.  GLOBULAR    BOTTLE   with   bulbous   neck. 
Three  ladies,  a  palm-tree,  and  flowering  shrubs. 
Mark:  A  leaf  with  fillets. 

K'ang-hsi  (1662-1722).  Height  51^  inches. 

336.  MINIATURE  BOTTLE.  Lange  Lijsen  and 
jardinieres  with  flowering  plants. 

K'ang-hsi  (1662- 1722).  Height  ^ys  inches. 

74 


OF   CHINESE    PORCELAINS  [CASE    XII 

337.  MINIATURE  BOTTLE.  Six  vertical  panels 
with  Lange  Lijsen  and  flowering  shrubs. 

K'ang-hsi  (i  662-1 722).  Height  3  inches. 

338.  MINIATURE  VASE.  Lange-Lijsen2Lnd  flower- 
ing shrubs  in  dark  blue. 

Mark:  A  leaf  and  ribbon. 

K'ang-hsi  (1662- 1722).  Height  3>^  inches. 

339.  340.  TWO  BOTTLES.  Lady  on  horseback 
carrying  a  lute;  attendants  on  foot;  emblems  and  sprays 
of  flowers. 

Mark:   YU  (jade). 

K'ang-hsi  (1662- 1722).  Height  ^}4  inches. 

341.    COVERED    VASE.     Flowering   trees    and    a 
man  on  horseback. 
Mark:   Yii  (jade). 
K'ang-hsi  (i 662-1 722).  Height  ^%  inches. 

342,343.    TWO    MINIATURE    BOTTLES.     Blue 
reserves  with  floral  devices. 
K'ang-hsi  (1662-1722).  Height  3X  inches. 

344.  MINIATURE     PEAR-SHAPED     BOTTLE. 
Lange  Lijsen  separated  by  flowering  shrubs. 
K'ang-hsi  (1662-1722),  Height  3^^  inches. 

345.  GLOBULAR  BOTTLE  with  pear-shaped  neck. 
Decorated  in  deep  brilliant  blue  with  scroll  leafage  on 
the  body,  and  conventional  flowers  and  lozenges  on  the 
neck. 

Mark:  A  blue  leaf. 

K'ang-hsi  (i 662-1 722).  Height  5^  inches. 

75 


CASE    XIIl]  THE   MORGAN    COLLECTION 

CASE    XIII 

346.  WATER-BOTTLE.  A  blue  and  white  bottle 
of  not  high  quality,  surdecoree  with  a  variety  of  enamel 
colors  of  the  muffle  stove,  including  coral-red,  apple- 
green  of  crackled  texture,  pale  yellow  and  crimson. 
Blue  and  white  pieces,  we  are  told  by  native  ceramic 
writers,  were  often  supplied  with  surdecoration  of  this 
kind  when  the  cobalt  blue  was  spoiled  in  the  first  bak- 
ing or  when  the  ground  came  out  clouded  or  spotted. 
K'ang-hsi  (1662- 1722).  Height  17  inches. 

347.  BOWL.  A  typical  example  of  crackled  Ting 
yao  of  Ch'ien-Lung  date,  intended  to  reproduce  the 
ancient  ware  of  the  Sung  dynasty.  The  ornamental 
designs  are  moulded  in  relief,  and  incised  at  the  point, 
and  subsequently  covered  with  a  soft-looking  glaze. 
The  so-called  "soft  glaze"  of  blue  and  white  collectors 
is  made  of  a  similar  grayish  pate,  and  painted  with  under 
glaze  blue  before  the  crackled  glaze  is  applied. 
Ch'ien-lung  (1736-1795).  Diameter  1 1  inches. 

348.  CYLINDRICAL  VASE,  club-shaped.  A  club- 
shaped  vase  of  the  K'ang-hsi  period,  surdecoree  with 
enamels  after  a  similar  technique  to  No.  346. 

Height  1 7>^  inches. 

349.  SAUCER.  In  the  centre,  on  a  ground  of  floral 
scroll-work  in  green,  purple,  and  gold  on  white,  a  white 
circular  reseive  with  eight  indented  undurations,  con- 
taining a  cluster  of  peony  and  pinks. 

Ch'ien-lung  (1736-1795).  Diameter  'j^  inches. 

350.  SAUCER.  A  white  and  gold-edged  circular 
reserve  with  scalloped  edges  and  wavy  indentations 
encloses  a  lake  scene  with  islands,  rocks,  houses,  and 

76 


OF   CHINESE    PORCELAINS  [CASE   XIII 

trees.    A  gold  scroll  border  interrupted  by  eight  rose- 
colored  lotus  flowers  encircles  the  picture. 
Ch'ien-lung  (1736-1795).  Diameter  7^  inches. 

351.  PERFUME-SPRINKLER.  A  perfume  sprin- 
kler decorated  with  po  ku  emblems,  of  rank  and  culture, 
completed  with  foliated,  "herringbone"  and  castellated 
bands.  The  rims  are  touched  with  t^ii-chin  of  brownish 
old  gold  tone,  a  point  considered  by  the  old  Dutch  col- 
lectors as  distinctive  of  good  quality. 

K'ang-hsi  (i  662-1 722).  Height  11  inches. 

352,  353.  TWO  GOURD  VASES  with  tall  necks. 
The  bodies  are  decorated  with  scarlet  and  white  peo- 
nies, and  purple  and  yellow  butterflies  on  a  frog-spawn 
ground,  with  two  oblong  white  reserves  showing  scenes 
with  ladies  and  children  in  brilliant  enamel  colors. 
K'ang-hsi  (1662-1722).  Height  io>^  inches. 

354.  BOWL.  White  egg-shell,  with  perforated  rice- 
pattern  in  the  body  translucent  when  illuminated  from 
within,  and  also  visible  when  the  vessel  is  filled  with  a 
dark  fluid. 

K'ang-hsi  (1662-1722).  Diameter  7^  inches. 

355.  TRIPLE-GOURD  VASE,  with  spreading 
mouth  above  a  bulbous  collar.  The  two  lower  bulbs 
and  base  are  dark  cafe-au-lait  with  creamy-white  rings. 
Above,  pure  white  porcelain  decorated  in  dark  blue, 
with  four  medallions  enclosing  flowers.  Most  of  the 
chocolate  feuille-morte  and  cafe-au-lait  pieces  were 
made  for  domestic  use  in  Europe  and  imported  through- 
out the  eighteenth  century.  Much  of  it  was  shipped 
by  the  Dutch  at  Batavia,  and  it  is  still  known  to  dealers 
as  "Batavian." 

K'ang-hsi  (1662- 1722).  Height  loys  inches. 

77 


CASE    XIIlJ  THE    MORGAN    COLLECTION 

356.  TRIPLE-GOURD  VASE  with  spreading 
mouth.  The  lower  bulb  is  light  cafe-au-lait,  with  two 
scroll-shaped  panels  enclosing  branches  of  rose  peony 
and  plum,  on  which  sits  a  black-headed  yellow  fly- 
catcher with  rose  wings.  The  upper  bulb  and  neck  are 
pure  white  porcelain,  with  intense  blue  decoration  of 
lotus  flowers  and  scroll  leaves  in  white  reserve;  and  two 
indented  ovals  enclosing  incense-burners. 
Ch'ien-lung  (1736-1795).  Height  9K  inches. 

357'  358-  TWO  VASES  with  spreading  mouths. 
Covered  with  deep-blue  fish-roe,  with  sprays  of  flowers 
and  butterflies  modelled  in  the  paste  in  white  reserves. 
Two  quadrilateral  gold-edged  white  reserves  enclosing 
scenes  with  ladies  and  children  painted  in  bright  colors. 
Round  base  is  a  blue  border  of  foaming  waves,  and 
above  it  a  scroll  border  in  gold  with  flowers  and  lozen- 
ges. 
Ch'ien-lung  (1736-1795).  Height  7K  inches. 

359.  CUP.  White  Fuchien  porcelain  pierced  in 
delicate  swastika  pattern,  with  five  circular  reserves; 
one  shows  a  figure  of  Buddha,  and  the  other  four  the 
eight  Immortals,  in  high  relief  in  gold. 

Mark:  In  blue,  Ta  Ming  nien  chih  (Made  in  the  great 

Ming  dynasty).     [Apocryphal]. 

K'ang-hsi  (1662-1722).  Diameter  3^  inches. 

360.  CUP.  White  Fuchien  porcelain  pierced  in 
coin-pattern,  interrupted  by  five  medallions,  each  of 
three  concentric  circles  with  radii.  Each  of  the  inner 
circles  contains  a  Chinese  character. 

K'ang-hsi  (1662-1722).  Diameter  3 J^  inches. 

361.  INCENSE-BURNER  with  scroll  handles.  De- 

78 


OF   CHINESE    PORCELAINS  [CASE   XIII 

corated  in  relief  with  three-clawed  dragons  and  scroll 
leaves.     The  curved  legs  start  from  fish  heads. 
K'ang-hsi  (1662-1722). 

Height  3>^  inches.     Diameter  4  inches. 

362.  MINIATURE  GLOBULAR  JAR.    A  grape- 
vine starts  from  inside  the  rim,  and  spreads  its  leaves 
over  about  half  the  upper  part  of  the  jar;  on  the  other 
side  sits  a  squirrel,  all  finely  modelled  in  relief. 
Ch'ien-lung  (1736-1795).  Diameter  2%  inches. 

363.  CUP.     Pierced  in  coin-pattern  with  five  round 
reserves  with  three-clawed  dragons  in  low  relief. 
K'ang-hsi  (1662-1722).  Diameter  3 K  inches. 

364.  CUP.  Pierced  in  coin-pattern  and  five  circles, 
each  showing  a  phoenix  flying  over  waves.  The  rim 
has  a  pierced  border  of  alternate  coin  and  lotus  flowers. 
The  conventional  medallions  of  five  phoenixes  in  the 
pierced  openwork  design  of  this  cup  indicate  that  it  was 
specially  made  for  the  Empress.  Such  cups  when  used 
have  linings  of  beaten  silver. 

K'ang-hsi  ( 1 662- 1 722) .  Diameter  3  yi  inches. 

365.  YIN  SE  HO,  OR  SEAL  COLOR-BOX,  white 
porcelain,  biscuit,  intended  to  hold  a  vermilion  pad,  of 
which  traces  still  remain  inside.  On  top,  in  relief,  a 
finely  modelled  five-clawed  dragon  among  fire-emblems 
and  nebulae.  On  the  body  are  nebulae  with  waves 
below. 

Ch'ien-lung  (1736-1795).  Diameter  3K  inches. 

36610368.   THREE  PEAR-SHAPED  BOTTLES. 
Grape-vine  and  squirrels  in  blue,  and  lotus-petal  bor- 
der. 
Ch'ien-lung  (1736-1795).  Height  7  inches. 

79 


CASE    XIIl]  THE   MORGAN   COLLECTION 

369.  BOTTLE  with  swelling  neck.  On  body  are 
two  female  figures  holding  flowers;  between  them  a 
table  on  which  a  white  rabbit  sits. 

Mark:  A  leaf  with  knot. 

K'ang-hsi  (1662-1722).  Height  7X  inches. 

370,  371.  TWO  VASES  with  ring  handles.  Fig- 
ures, flowers,  etc. 

Mark:  A  leaf. 

K'ang-hsi  (1662- 1722).  Height  6K  inches. 

372.  WINE-JUG.  The  body  has  four  hexagonally 
reticulated  panels,  the  intervals  being  filled  with  rows 
of  plum  flower  and  leaves,  in  grayish-blue.  On  each 
side  of  the  neck  a  blue  panel  enclosing  conventional  lotus 
flower,  with  scroll  leaves  in  white  reserve.  On  the 
bottom  is  a  perforated  coin. 

K'ang-hsi  (1662-1722).  Height  9  inches. 

373.  GOURD-SHAPED  BOTTLE.  Decorated  in 
dark  and  brilliant  blue  with  two  groups  of  lotus  spring- 
ing from  below  alternating  with  peonies  drooping  from 
above. 

K'ang-hsi  (1662- 1722).  Height  6X  inches. 

374.  FLASK-SHAPED  BOTTLE.  Decorated  in 
dark  and  brilliant  blue  with  two  groups  of  flowers 
springing  from  rocks. 

K'ang-hsi  (i 662-1 722).  Height  8  inches. 

375.  PERFUME-SPRINKLER.  Dark  blue  with 
floral  scroll-bands,  with  three  chrysanthemums  with 
scroll  stalks  and  leaves. 

K'ang-hsi  (i  662-1 722).  Height  5^^  inches. 

376,377.   TWO   MINIATURE    BOTTLES.    Deep 
blue,  with  foliated  ornaments. 
K'ang-hsi  (1662- 1722).  Height  3^  inches. 

80 


OF   CHINESE    PORCELAINS       [CASE    XIII-A 

378,  379.    TWO  SMALL  CYLINDRICAL  VASES. 
Decorated  in  deep  blue;  a  swastika  band  round  centre 
separates  a  design  showing  a  balcony  with  jardinieres 
from  one  below  showing  two  horsemen  hunting. 
Mark:  A  leaf  with  knot. 
K'ang-hsi  (1662-1722).  Height  6  inches. 

380,  381.   TWO  MINIATURE  VASES.     Dark  blue; 
three  figures  with  jardinieres. 
K'ang-hsi  (i 662-1 722).  Height  3  inches. 

382.  BOWL.  The  rim  is  white  with  a  blue  dovetail 
border,  the  body  deep  cafe-au-lait,  pierced  with  round 
holes  leaving  four  oval  reserves.  Inside,  dull  blue,  with 
design  of  figures,  etc. 

K'ang-hsi  (1662- 1722).  Diameter  4^  inches. 

383.  MINIATURE  BOWL.  The  rim  white,  with 
border  in  deep  blue. 

K'ang-hsi  (1662-1722).  Diameter  3X  inches. 

384.  385.  TWO  MINIATURE  BOTTLES.  Bright 
blue  foliated  circles  with  sprays  of  flowers  in  white  re- 
serve. 

K'ang-hsi  (1662- 1722).  Height   3   inches. 

386.    MINIATURE    OVOID    COVERED    VASE. 
Sprays  of  prunus  starting  from  rocks. 
Mark:  A  leaf. 
K'ang-hsi  (1662-1722).  Height  5 >^  inches. 


CASE  XIII— SECTION  A 

387.  OVOID  WIDE-MOUTHED  VASE.  Imita- 
tion of  carved  cinnabar  lacquer,  with  two  gilded  medal- 
lions which  in  polychrome  relief  display  a  pair  of  archaic 

81 


CASE    XIII-A]      THE   MORGAN    COLLECTION 

dragons  {ch'ih  lung)  passing  through  scrolls  of  Poly- 
porus  fungus  {ling  chih).  The  base  and  interior  of  the 
neck  of  the  vase  are  enamelled  green,  suggestive  of  its 
fabrication  at  the  imperial  potteries.  Blue  enamel 
bands  about  the  shoulder  and  base,  and  rudimentary 
handles  of  elephant  heads. 
Ch'ien-lung  (1736-1795).  Height  12  inches. 

388.  TURQUOISE  BEAKER.     Landscape  model- 
led in  the  paste,  together  with  various  decorations,  be- 
neath a  rich  crackled  glaze  of  turquoise. 
Ch'ien-lung  (1736-1795).  Height  22K  inches. 

389,  390.  HAWK  AND  PHEASANT.  Two  birds 
perched  on  rocks  with  rich  decoration  in  opaque  enam- 
els. 

Ch'ien-lung(i736-i795).        Height  11  and  14  inches. 

391.  WINE-POT.  Rich  decoration  in  opaque  and 
transparent  enamels;  on  the  sides  the  Immortals  upon 
cloud-forms  about  a  Shou  character  modelled  in  a  disk. 
Ch'ien-lung  (1736-1795).  .  Height  12  inches. 

392.  BOWL.     Reticulated    floral    pattern,    within 
and  without,  in  black  on  a  yellow  ground. 
Ch'ien-lung  (1736-1795).  Diameter  9  inches. 

393.  SAUCER.  Decoration,  fashioned  after  a  Eu- 
ropean drawing,  depicting  five  personages  in  eighteenth- 
century  costume,  seated  about  a  table,  each  with  a 
document  variously  dated  and  inscribed.  Beneath  the 
table  is  a  rich  rug,  and  a  tessellated  blue  floor  fills  the 
foreground.  The  material  of  the  background  is  all 
European.  The  episode  seems  to  commemorate  the 
signature  of  a  treaty. 

Ch'ien-lung  (1736-1795).  Diameter  8  inches. 

(plate  xx) 

82 


OF   CHINESE    PORCELAINS         [CASE    XIII-A 

394.  ROSE-BACKED  SAUCER.  The  Taoist  fig- 
ure, of  unusual  aspect,  must  be  intended  for  Lao  Tzu, 
the  founder  of  Taoism,  with  scroll  and  gourd  tied  upon 
his  pilgrim  staff,  and  the  classics  of  his  cult  carried  on 
the  back  of  a  deer. 
Ch'ien-lung  (1736-1795).  Diameter  10  inches. 

395,396.    TWO  ROSE-BACKED  SAUCERS,  egg- 
shell porcelain.     Beautifully  drawn  and  brilliant  deco- 
ration of  two  cocks  and  a  hen  with  flowers  and  rocks  in 
rich  transparent  enamels. 
Ch'ien-lung  (1736-1795).  Diameter  8  inches. 

(plate  XX  AND  PLATE  XXV) 


CASE  XIV 

397.  CYLINDRICAL  VASE,  club-shaped.  On  front 
and  back  are  upright  rectangular  white  reserves  on  a 
ground  of  rich  copper-red,  one  showing  an  equestrian 
figure  in  gorgeous  apparel  who,  on  a  yellow-ochre  horse, 
with  red  trappings,  is  gazing  at  two  ladies  in  green  in  a 
green  jinrikisha  with  a  bare-legged  runner.  Beyond 
the  horseman  is  a  youth  in  green,  with  a  rod  over  his 
shoulder,  from  which  hangs  a  fan.  The  second  panel 
shows  three  ladies  in  green  around  a  table,  in  the  fore- 
ground two  boys  in  green  playing  with  a  crab. 
Ch'ien-lung  (1736-1795).  Height  18  inches. 

398,  399.  TWO  FLASK-SHAPED  BOTTLES  with 
long,  tapering  necks  slightly  spreading  at  the  mouths. 
White  porcelain.  Each  shows  three  ch'i-lins  of  gor- 
geous color;  one  salmon-pink,  with  deep  green  head  and 
red  and  purple  mane,  tail,  and  "feather";  another  pale 
yellow,  with  red  and  purple  trimmings;  the  third  green, 
trimmed  with  red  and  purple,  a  ju-i  head  upon  his  tail. 
Each  stands  on  his  individual  rock  of  varying  tints  of 

83 


CASE    XIV]  THE    MORGAN    COLLECTION 

purple,  green,  and  rose,  a  dark-green  sea  foaming 
around  him.  Round  base  of  neck  is  a  band  of  red,  yel- 
low, and  blue  flowers  on  black  speckle  under  clear- 
green  enamel,  with  four  white  oblong  reserves  with 
rounded  and  indented  ends  defined  in  bright  purple, 
each  containing  a  purple  and  yellow  p'an-lung,  or  water- 
dragon. 
K'ang-hsi  (1662-1722).  Height  20  inches. 

400,  401 .  TWO  CYLINDRICAL  VASES  with  trum- 
pet mouths.  Large  vertical  leaf-shaped  reserves  on  a 
brilliant  blue  ground  which  is  overlaid  with  isolated 
prunus  blossoms.  Graceful  decoration  of  flowers  in 
brilliant  enamels  and  gold  fill  the  reserves.  Mounted 
in  French  ormolu. 
Ch'ien-lung  (1736-1795).  Height  19^^  inches. 

402.  GLOBULAR  BOTTLE.  In  dark  tea-glaze 
with  four  circular  reserves,  in  the  white  paste,  each  con- 
taining an  arrangement  of  brilliant  flowers  in  trans- 
parent enamels  within  a  gold  border.  A  good  speci- 
men of  the  softly  mottled  tea  dust  {ch'a  yeh  mo)  ground 
of  the  Ch'ien-lung  period,  flecked  all  over  with  points 
of  gold,  a  production  of  the  imperial  factory,  with  the 
seal  mark  of  the  reign  stamped  underneath  in  the  paste. 
Ch'ien-lung  (1736-1795).  Height  12X  inches. 

403.  OVOID  VASE,  egg-shell  porcelain.  Two  re- 
serves on  a  blue  reticulated  ground,  containing  land- 
scapes copied  from  Dresden  originals.  Band  of  gold 
floral  and  geometric  ornament  about  the  open  neck. 
Ch'ien-lung  (1736-1795).  Height  loK^  inches. 

404.  BOWL  WITH  COVER  AND  SAUCER.  Ela- 
borate design  of  floral  scroll-work  with  flowers  in  rose, 
lilac,  sulphur-yellow  and  delicate  greens,  alternating 
with  two  leaf-shaped  white  reserves,  each  showing  a 

84 


OF   CHINESE    PORCELAINS  [CASE    XIV 

golden  jar  with  green  cords  and  purple  tassels,  holding 

flowers,  and  a  gold  basket. 

Ch'ien-lung  (1736-1795).     Diameter  ^yi  and  8  inches. 

405,  406.    TWO  OVOI D  VASES,  egg-shell  porcelain. 
Elaborate  and  minute  decoration  of  landscapes  with 
figures  in  delicate  colors.     Bands  of  floral  and  geomet- 
ric ornament  at  neck  and  foot. 
Ch'ien-lung  (1736- 1795).  Height  10  inches. 

407.  HEXAGONAL  PI  T'UNG  (brush  receptacle). 
The  sides  pierced  in  hexagonal  reticulation  framed  in 
pale  blue,  with  white  scrolls,  rose  magnolia,  and  red, 
rose,  and  yellow  lotus  flowers  with  green  leaves  in  re- 
serve. Each  panel  has  a  central  white  reserve  bearing 
a  decorative  design. 

Ch'ien-lung  (1736-1795). 

Height  6  inches.     Width  8  inches. 

408.  BOWL  WITH  COVER  AND  SAUCER,  egg- 
shell porcelain.  Beautiful  decoration  in  rose,  ruby, 
and  gold.  The  body  of  the  bowl  has  conventional  lotus 
flowers  in  gold  and  purplish-blue  with  scroll  stems  and 
leaves  in  gold  and  white,  outlined  in  red  on  white 
ground,  with  four  white  indented  oval  reserves  with 
foliated  tops,  outlined  in  bluish-green.  Two  contain 
a  blue-crested  rose  flycatcher,  perched  on  a  branch  of 
rose  and  yellow  plum  with  deep-green  leaves;  another 
a  lady,  in  deep  blue,  with  a  child;  another  a  man  seated 
on  a  rug  with  a  child.  The  predominating  effect  is  of 
rose  and  gold  throughout,  and  is  of  unusual  richness. 
Ch'ien-lung  (i 736-1975). 

Diameter  4K  and  6X  inches. 
(saucer,  plate  XXIII,  right) 

409.  BOWL  WITH  COVER  AND  SAUCER.  Egg- 
shell  porcelain.     Similar  to   No.  404.     In  the  centre 

85 


CASE    XIV]  THE    MORGAN    COLLECTION 

of  lid   a  light  rose  camellia,  with   rich  green  leaves. 
Ch'ien-lung  (1736-1795). 

Diameter  4>^  and  6%  inches. 

410  to  419.  TEN  ROSE-BACKED  PLATES,  egg- 
shell porcelain.  Beautifully  drawn  and  painted  de- 
sign of  a  globular  vase  and  flat  dish  filled  with  flowers 
and  fruits,  the  whole  within  a  double  border  of  geo- 
metric ornament  embracing  three  reserves  containing 
the  floral  emblems  of  abundance — of  sons,  of  years,  and 
of  promotions. 
Ch'ien-lung  ( 1 736-1 795).  Diameter  8>^  inches. 

(plate  XXVII) 

CASE  XV 

420  to  423.  GARNITURE  OF  TWO  MANDARIN 
QUADRILATERAL  AND  TWO  OVIFORM  VASES. 
All  bearing  an  elaborate  and  closely  wrought  decoration 
on  large  reserves,  supported  on  a  rose  or  copper-red 
ground,  overlaid  with  diaper  ornament  in  gold.  Festi- 
vals in  the  open  air  with  profuse  detail  of  figures,  land- 
scape, and  various  accessories  cover  the  entire  surface, 
and  the  general  style  is  Cantonese,  being  identical  with 
that  found  in  Canton  enamels. 
Late  Ch'ien-lung  (1736-1795) 
or  Chia-ch'ing  (1796-1820).    Height  25  and  18^  inches. 

424,425.  TWO  OVIFORM  WIDE-NECKED  BOT- 
TLES. A  pair  of  bottles  from  the  imperial  potteries 
of  the  reign  of  Chia-ch'ing,  as  testified  by  the  seal  un- 
derneath and  the  coat  of  green  enamel  around  it,  as 
well  as  in  the  neck  of  the  vase.  The  chief  motive  of 
decoration  consists  of  groups  of  boys  masquerading  on  a 
balustrade,  holding  up  various  implements  and  flowers, 
which,  by  a  curious  conceit,  are  intended  to  convey, 
rebus  fashion,  wishes  of  good  augury.    They  read  here: 

86 


OF    CHINESE    PORCELAINS  [CASE    XV 

Fu  kuei  chi  ch'ing  ju  (Happiness,  promotion  and  good 
luck!)  and  Pi  ting  ju  i  (May  every  wish  be  fulfilled !) 
Chia-ch'ing  (1796-1820).  Height  12^  inches. 

426  to  428.  GARNITURE  OF  DOUBLE  GOURD 
AND  TWO  VASES  with  wide  horizontal  lips.  All  in 
elaborate  reticulated  or  pierced  pattern,  woven  in  gilt 
bands  on  the  gourd,  and  formally  net-like  on  the  others. 
Theunpierced  portions  are  covered  with  brilliant  opaque 
enamels  and  gold.  Seal-mark  of  reign. 
Chia-ch'ing  (1796- 1820).    Height  \2J4  and  9X  inches. 

(plate  xxii) 

429  to  436.  EIGHT  ROSE-BACKED  PLATES.  In 
the  central  white  circle  a  richly  attired  lady  with  two 
or  three  children  surrounded  by  a  profusion  of  objects 
of  luxury,  ornament,  and  use.  The  borders  are  rose 
octagon-and-square  with  fruit,  and  petal-shaped  re- 
serves enclosing  flowers. 
Ch'ien-lung  (1736-1795).  Diameter  8>^  inches. 

(no.  431,   PLATE  XXIII.      NO.  435,   PLATE  XXVII.) 

437.  ROSE-BACKED  PLATE.  In  centre  circle  a 
landscape  with  two  girls  and  three  sheep  in  delicate 
colors;  the  border  is  rose  octagon-and-square,  with 
three  oblong  and  three  oval  reserves  enclosing  colored 
flowers  and  black  orchid  blossoms. 

Ch'ien-lung  (1736-1795).  Diameter  8>^  inches. 

438.  ROSE-BACKED  PLATE.  In  centre  circle 
a  lady  sits  on  a  dark  brown  bench  attended  by  two 
children.  The  inner  border  is  swastika  on  pale  green, 
with  black  scroll  dragons  in  reserves;  the  outer  octagon- 
and-square  on  rose,  with  peonies  in  three  reserves  and 
three  deep  blue  Shou  characters  in  circles. 
Ch'ien-lung  (1736-1795).  Diameter  8X  inches. 

87 


CASE    XVl]  THE    MORGAN    COLLECTION 

CASE    XVI 

439.  BEAKER  VASE.  A  magnificent  beaker- 
shaped  vase  of  K'ang-Hsi  decorated  in  brilliant  enamels 
with  scenes  of  military  life.  It  was  not  uncommon  at 
this  time  to  decorate  a  pair  of  such  tall  vases  as  com- 
panions, one  with  scenes  of  civil  official  life,  called 
IVen  T'ing;  the  other,  like  this  one,  under  the  name 
of  IVu  T'ing,  or  "Military  Vase."  Rocks  and  trees 
form  a  framework  to  the  picture. 

K'ang-hsi  (1662-1722).  Height  28  inches. 

440.  LARGE  CYLINDRICAL  VASE.  Copper-red 
prevailing  in  the  decoration,  which  embraces  various 
designs,  depicting  family  life. 

K'ang-hsi  (i  662-1 722).  Height  28  inches. 

441.  BEAKER  with  spreading  mouth  and  base. 
A  worthy  pendant  of  No.  439  being  a  ^Ven  T'ing,  deco- 
rated with  scenes  of  official  life  in  China,  although  not 
precisely  one  of  a  pair  with  it.  Note  the  apparatus  of 
the  "four  liberal  arts"  in  the  reserves  on  the  diapered 
band  encircling  the  shoulder  of  the  vase — the  chess- 
board, the  scholar's  lyre,  books  and  scroll  paintings. 
K'ang-hsi  (1662-1722).  Height  28  inches. 

442.  OVOID  TRUMPET-MOUTHED  VASE.  Bril- 
liant white  porcelain,  with  a  bold  and  freely  drawn  de- 
coration of  lotus  and  other  flowers  with  birds  and  insects. 
Ch'ien-Iung  (1736-1795).  Height  17  inches. 

443  to  445.  GARNITURE  OF  THREE  PIECES. 
Very  elaborate  decoration  throughout  of  ceremonial 
and  legendary  scenes  in  the  festival  of  the  Dragon  pro- 
cession celebrated  on  the  fifth  day  of  the  fifth  moon, 
painted  in  minute  detail  in  spaces  contained  within  dark 
ruby  borders  overlaid  with  close  floral  ornament.    The 

88 


OF    CHINESE    PORCELAINS  [CASE    XVI 

centre  piece  shows  an  exquisitely  drawn  view  of  the 
Taoist  paradise  with  a  group  of  their  immortal  hermits 
dispatching  wands  of  fate  by  cranes;  one  of  them  is 
seen  on  the  back  of  the  vase  on  his  mission  to  the  tem- 
ple in  mid-ocean.  Seal-mark  of  reign. 
Chia-ch'ing  (1796- 1820).        Height  i2}i  and  1 1  inches. 

446.  VASE  with  bell-shaped  cover.  Isolated  pru- 
nus  blossoms  on  a  ground  of  deep-green  cracked  ice, 
with  leaf-shaped  and  other  reserves  filled  with  floral 
and  other  designs. 

Yung-cheng  (1723-1735).  Height  16  inches. 

447.  PEAR-SHAPED  JAR  with  cover.    Celadon, 
with  leaf-shaped  reserves  containing  sprays  of  flowers 
and  insects.     Rose  border  at  the  shoulder  and  base. 
Ch'ien-lung  (1736-1795).  Height  io>^  inches. 

448  to  45 1 .  FOUR  ROSE-BACKED  PLATES,  egg- 
shell porcelain.  In  the  centre,  on  a  ground  of  black 
Y-pattern  on  light  greenish-blue,  a  white  foliated  hexa- 
gon or  octagon  outlined  in  gold  and  black  encloses  a 
lady  seated  in  a  slender  chair,  richly  attired  and  vari- 
ously occupied.  In  the  foreground  are  children  in  rich 
dresses,  and  a  profusion  of  accessories  in  the  way  of 
vases,  fruits,  flowers,  musical  instruments,  toys,  books, 
furniture  and  ornaments. 
Ch'ien-lung  (1736-1795).  Diameter  8  inches. 

(no.  449,  PLATE  xxi) 

452,  457.  TWO  ROSE-BACKED  PLATES,  egg- 
shell porcelain.  In  the  centre  a  lady,  in  costume  of 
pale  rose  and  yellow-green,  elaborately  embroidered 
in  black,  and  a  deep,  purple-blue  scarf,  a  rose  camellia 
in  her  black  hair,  sits  on  a  low  ebony  bench  and  looks 
down  on  three  children  in  the  foreground. 
Ch'ien-lung  (1736-1795).  Diameter  8  inches. 

(plate  xxv) 

89 


CASE    XVl]  THE    MORGAN    COLLECTION 

453  to  456.  FOUR  ROSE-BACKED  PLATES,  egg- 
shell porcelain.  The  white  circular  centre  shows  a 
lady  in  rich  apparel  all  embroidered  in  black,  seated 
in  a  pale-yellow  and  brown  bamboo  armchair;  her  right 
arm  rests  on  a  white-topped  ebony  table  on  which  a 
gold  incense-burner  stands  to  left  of  a  deep  blue  sprink- 
ler with  gold  scroll  dragons,  holding  two  gold-  and  pur- 
ple-eyed green  peacock  feathers  and  a  branch  of  coral. 
To  the  right  of  the  lady  a  child,  a  rose  lotus  flower  in 
his  left  hand,  advances  on  another  in  the  centre  fore- 
ground, who  shows  a  yellow  "hand  of  Buddha"  in  his 
right  hand.  Further  to  left  another  child  stands  hold- 
ing a  vase.  A  narrow  border  of  delicate  black  scroll 
on  pale  sea-green  encircles  the  picture,  outside  which 
is  a  border  of  black-flowered  diamond  on  pale  yellow- 
green  interrupted  by  three  oblong  white  reserves,  the 
foliated  ends  defined  in  gold  and  rose,  each  with  a  scroll 
water-dragon  tinted  in  cobalt. 
Ch'ien-lung  (1736-1795).  Diameter  8)^  inches. 

CASE  XVII 

458.  PLATE.  With  decoration  in  centre  and  on 
rim  of  flowers  and  butterflies  in  brilliant  enamel  colors 
on  a  frog-spawn  ground. 

K'ang-hsi  (i 662-1 722).  Diameter  i2|^  inches. 

459,  460.  TWO  LARGE  JARS  with  bell-shaped 
covers.  The  precious  objects  of  the  Taoists,  some 
marked  with  the  character  Shou,  are  arranged  on  a  frog- 
spawn  ground  which  supports  four  large  quadrilateral 
reserves,  outlined  in  yellow,  with  scalloped  bases  and 
scalloped  and  foliated  tops,  showing  interior  scenes  il- 
lustrating historical  episodes;  the  scenes  are  the  same 
on  each  piece,  varying  little  but  in  the  colors  of  the 
costumes.  Round  the  base  is  a  frog-spawn  border 
with  eight  quadrilateral  yellow-edged   reserves  with 

90 


OF    CHINESE    PORCELAINS  [CASE    XVII 

foliated  tops  containing  the  flowers  of  the  four  seasons. 
The  neck  is  decorated  with  peonies,  lotus,  prunus 
chrysanthemums,  and  convolvulus,  with  butterflies 
in  brilliant  enamel  colors.  On  the  covers  are  four 
pyramidal  reserves,  with  foliated  tops,  on  a  frog- 
spawn  ground,  each  showing  boys  at  play;  between  these 
reserves  vases  with  flowers  or  peacock  feathers  with  the 
Shou  or  Yang  and  Yin  sign  in  red  on  each.  The  top 
is  bright  purple-blue.  Magnificent  examples  of  the 
brilliant  coloring  which  distinguishes  the  reign  of  K'ang- 
hsi.  The  cobalt  blue,  as  here,  is  usually  applied  over 
the  glaze  and  fired  in  the  muffle  stove  with  the  other 
enamels  of  the  polychrome  palette.  It  takes  a  pur- 
plish tinge,  and  stands  out  in  a  tangible  relief,  but  has 
one  disadvantage  in  that  it  has  a  tendency  to  scale  off. 
K'ang-hsi  (1662- 1722).  Height  23  inches. 

461.  CYLINDRICAL  EWER  with  tiara  top,  used 
for  iced  fruit  syrups;  another  magnificent  example 
of  the  above  class.  The  strongly  designed  dragon  is 
four-clawed,  as  is  usual  in  the  finest  pieces  of  the  time 
which  are  not  from  the  imperial  factory.  Note  the 
crackled  texture  of  the  green  enamels,  as  interesting 
points  of  comparison  with  contemporary  monochrome 
glazes  executed  with  the  same  materials. 
K'ang-hsi  (1662- 1722).  Height  20  inches. 

462,  463.  TWO  HEXAGONAL  LANTERNS.  Egg- 
shell porcelain,  decorated  in  most  brilliant  transparent 
enamels  of  the  K'ang-hsi  period  on  a  paste  of  exquisite 
fineness.  Each  piece  is  surmounted  by  a  crenelated 
crown,  originally  gilt,  and  the  hexagonal  retreating 
base  rests  in  a  metal  stand  or  socket  of  similar  design. 
The  six  panels  bear  decorations  depicting  traditional 
incidents. 

K'ang-hsi  (1662- 1722).  Height  12X  inches. 

(plate  XXIV  AND  PLATE  XXVl) 

91 


CASE    XVIl]  THE    MORGAN    COLLECTION 

464,  465.  TWO  OVOID  EGG-SHELL  VASES.  The 
one  has  very  delicate  and  rich  decoration  of  numerous 
elaborately  attired  figures.  Two  ladies  seated, one  with 
her  back  turned,  the  other  in  pale  blue.  To  the  right,  a 
girl  in  pink,  on  a  dark  green  seat;  behind  her  a  purple 
jar  and  a  bamboo  cabinet.  In  the  foreground  a  lady  in 
a  chair,  at  her  knee  the  head  and  shoulder  of  a  child. 
Beyond  a  young  girl,  and  to  the  left  of  the  lady  working, 
two  boys  stand  in  the  foreground,  one  with  a  black  and 
gold  stand  of  arrows.  The  other  has  just  shot  an  arrow 
from  a  yellow  bow,  and  in  front  of  him,  on  the  floor,  lie 
three  brilliant  yellow  peaches,  each  transfixed  by  an 
arrow.  The  inscription  on  this  beautiful  eggshell 
vase  records  the  date,  the  residence  and  the  name  of 
the  studio  of  the  artist  decorator,  who  has  attached 
his  seal  below.  The  date  at  the  beginning  is  the  cyc- 
lical year  chi  yu,  which  would  correspond  to  A.  D. 
1729. 

A  companion  vase,  but  inscribed  and  sealed  by  an  ar- 
tist who  writes:  "  Painted  on  a  winter  day  at  Chu  Chiang 
in  the  Chin  Shut  T'ing"  (literally  Waterside  Pavilion), 
but  giving  no  date.  Figures  and  accessories  of  a  sim- 
ilar character.  A  lady,  to  her  right  a  child  in  rose- 
tinted  jacket;  front  a  slender  girl;  all  three  regard 
another  child,  to  the  right,  who  recites  under  the  di- 
rection of  a  lady.  To  the  left  of  the  seated  lady,  in  the 
foreground,  is  a  child  who  carries  a  black-handled  white 
standard  with  gold  top  and  pendant  white  sounding- 
stone,  and  addresses  himself  to  the  other  child. 
Yung-cheng  (1723-1735).  Height  8  inches. 

466.     HEXAGONAL    LANTERN.     Fine   egg-shell 
porcelain  in  reticulated  and  perforated  pattern  with 
medallion  reserves  bearing  delicate  floral  decoration. 
Crenelated  top  and  gilt  metal  stand. 
Ch'ien-lung  (1736-1795).  Height  15K  inches. 

(plate  xxiv) 

92 


OF    CHINESE    PORCELAINS  [CASE    XVII 

467  to  469.  THREE  LARGE  ARMORIAL  PLATES. 
Fine  white  porcelain,  with  brilliant  decoration  in  five- 
color  enamels  of  late  seventeenth  or  early  eighteenth 
century.  Made  in  China  to  fill  an  order  sent  out  from 
Holland,  and  each  carrying  the  armorial  bearings  of 
places  as  follows,  to  wit:  Loven,  Amsteldam,  and  Meg- 
gel  en. 
K'ang-hsi  (1662-1722).         Diameter  17  and  15  inches. 

470,  471.  TWO  BLUE  AND  WHITE  PLATES. 
With  borders  of  Chinese  landscapes  in  reserves  sur- 
rounding a  design  copied  from  a  European  engraving, 
and  showing  a  trio  of  musicians — a  lady  at  a  dulcimer, 
a  flautist,  and  a  lute  player,  all  in  the  style  of  Louis  X I V 
and  treated  with  characteristic  Chinese  fidelity.  Late 
seventeenth  century. 
K'ang-hsi  (i  662-1 722).  Diameter  13  inches. 

472.  LARGE  PLATE.  Rich  decoration  of  red, 
gold,  and  blue  in  the  style  taken  to  Japan  by  Kakiyem- 
mon,  and  familiar  as  Imari. 

Yung-cheng  (1723-1735).    Or  early  Ch'ien-lung  (1736- 
1795).  ^  Diameter  16  inches. 


CASE  XVIII 

473.  BEAKER  with  spreading  lip  and  slightly 
spreading  base.  The  legendary  battle  scene  which 
forms  the  main  decoration  of  this  imposing  vase  is 
taken  from  one  of  the  semi-historical  romances,  per- 
haps the  Shut  hu  ch'uan  (The  story  of  the  river  pi- 
rates) .  One  of  the  banners  emblazoned  san  chiin  would 
be  that  of  the  commander-in-chief  of  the  imperial  armies. 
The  emblems  enclosed  in  the  reserve  panels  of  the  bro- 
caded band  encircling  the  shoulder  of  the  vase  com- 
prise: a  chessboard  for  "the  game  of  war"  a  hanging 

93 


CASE    XVIII]        THE    MORGAN    COLLECTION 

musical  plaque  of  jade,  a  lyre  wrapped  in  its  case,  and  a 
wine  cup  of  rhinocerous  horn.  On  the  neck  of  the  vase, 
as  if  presiding  over  the  scene  below,  are  grouped  the 
Taoist  triad,  Fu,  Lu,  Shou,  the  star  gods  of  happiness, 
rank  and  longevity.  The  first  of  the  three  bears  in 
front  a  banner  with  four  large  gold  characters  on  it, 
Vien  kuan  tfufu  (The  celestial  official  who  bestows 
happiness).  The  pineclad  rocks  which  form  the  back- 
ground of  the  figure  scenes  present  a  gorgeous  decora- 
tive effect  in  shades  of  green. 
K'ang-hsi  (i 662-1 722).  Height  30  inches. 

474.  LARGE    CLUB-SHAPED-    VASE.      Boldly 
drawn  decoration  of  figures  in  predominating  tones  of 
copper-red,  in  similar  style  and  technique  to  No.  440. 
K'ang-hsi  (i 662-1 722).  Height  18  inches. 

475.  BEAKER  with  spreading  lips  and  base.  A 
striking  specimen  of  the  finest  Chinese  ceramic  art, 
complete  in  every  detail.  The  luminous  green  ground, 
stippled  with  black,  on  which  the  butterflies  are  brightly 
displayed,  is  spread  with  natural  sprays  of  flowers  and 
fruit,  after  the  decorative  motive  known  technically 
as  po  hud — (a  hundred  flowers).  The  large  foliated 
panels  on  the  neck  of  the  vase  exhibit  two  of  the  most 
characteristic  flowers,  the  peony  and  chrysanthemum. 
The  other  reserve  panels  on  the  body  are  of  pleasingly 
varied  outline,  the  po  ku  emblems  being  grouped  in 
pomegranates,  the  sea  monsters  in  ficus  religiosa  leaves, 
and  the  birds  and  landscapes  on  lotus  leaves  partly  un- 
rolled at  the  edges.  In  every  particular  it  will  repay 
careful  study. 

K'ang-hsi  (1662-1722).  Height  31  inches, 

476.  CYLINDRICAL  INCENSE-BURNER.  Form- 
ed as  two  sections  of  bamboo.  Richly  diapered 
ground  of  rose  and  gold,  with  isolated  blossoms  and 

94 


OF    CHINESE    PORCELAINS  [CASE    XVIII 

band  of  scroll-lotus,  the  centre  of  each  flower  bearing 

a  circular  Shou  character. 

Ch'ien-lung  (1736-1795).  Height  iiX  inches. 

477.  CYLINDRICAL  VASE,  club-shaped.  Cover- 
ed with  a  frog-spawn  ground  on  which  are  red,  yellow, 
black,  and  rose  daisies,  and  three  p'an-lung  (water-drag- 
ons), one  rose-colored,  the  others  yellow,  descending 
between  three  large  quadrilateral  white  reserves,  out- 
lined in  broad  yellow  and  narrow  green  lines,  with 
rounded  corners,  scalloped  bottoms,  and  foliated  tops 
with  curls  and  ju-i  heads  at  the  corners,  enclosing  elab- 
orately decorated  flower-baskets,  with  black  handles 
and  black  decorated  rims,  in  which  are  red,  yellow, 
and  blue  chrysanthemums,  and  red  lotus,  peonies,  and 
prunus  with  leaves  of  varying  green. 

K'ang-hsi  (1662-1722).  Height  18  inches. 

478.  DOUBLE-GOURD  BOTTLE  on  a  carved 
ebony  stand.  Covered  with  sprays  of  red  and  rose 
chrysanthemum,  red  prunus,  red  and  yellow  asters, 
with  black  and  green,  yellow,  and  rose,  butterflies  on  a 
ground  of  pale-green  frog-spawn,  with  four  large  re- 
serves shaped  as  leaves  and  fruit,  showing  the  flowers 
of  the  four  seasons,  peony,  lotus,  chrysanthemum,  and 
prunus,  with  appropriate  birds.  On  the  shoulder  a 
border  with  semi-blossoms  of  red  and  white,  rose- 
colored  and  yellow  prunus,  with  deep  green  leaves  in 
triplets,  between  four  white  reserves  shaped  alternately 
as  pomegranate  and  "hand  of  Buddha,"  containing 
sprays  of  rose  prunus  and  yellow  and  white  lotus. 
K'ang-hsi  (1662- 1722).  Height  17  inches. 

479.  CYLINDRICAL  VASE,  club-shaped.  Sprays 
of  conventional  lotus,  red,  yellow,  rose,  and  purple, 
with  rose  and  .yellow  butterflies  on  a  rich  green  frog- 
spawn  ground,  support  four  quadrilateral  white  re- 

95 


CASE    XVIIl]        THE    MORGAN    COLLECTION 

serves  with  indented  corners,  one  showing  a  green  lion 
contemplating  the  blue,  black,  and  yellow  asters  which 
grow  on  the  red  and  green  rocks  around  him ;  above  are 
green  and  orange  nebulae.  The  opposite  reserve  has  a 
red  and  yellow  lion  standing  among  red  and  green 
rocks,  on  which  grow  fungi  and  flowers,  and  exhaling 
five  black  bats  in  an  orange-red  breath  which  partly 
hides  the  green  and  yellow  clouds  above. 
K'ang-hsi  (1662-1722).  Height  18  inches. 

480  to  483.  FOUR  ROSE-BACKED  SAUCERS, 
egg-shell  porcelain.  In  the  white  circular  centre  a  lady 
in  costume  of  rose  and  pale  green  embroidered  in  black 
and  brilliant  blue,  and  white  scarf,  gold  ornaments  in 
her  hair,  sits  in  a  high-backed  carved  ebony  arm-chair, 
regarding  a  child  in  the  left  foreground,  dressed  in 
black-embroidered  green  coat,  rose  trousers,  and  gold 
necklet,  who  holds  in  his  left  hand  a  black  bird's  wing, 
while  with  his  right  he  exhorts  a  brown  sleeve-dog  with 
white  or  black  spots,  who  romps  at  the  lady's  feet. 
The  accessories  are  a  large  white  cracked-ice  jar  with 
yellow  interior,  and  a  large  covered  one  of  light  blue 
with  black  scroll  decoration,  and  a  black  and  gold  or 
green  and  gold  box  of  books.  To  the  right  is  another 
child  in  rose  coat,  pale  yellow  trousers,  gold  necklet, 
and  gold  head-dress,  who  leans  to  the  right  holding  a 
gold  ju-i  sceptre;  another  in  blue  peeps  over  his  shoul- 
der, to  the  left,  while  between  him  and  the  lady,  in  the 
background,  is  a  tall,  yellow,  brown-spotted  bamboo 
stand,  with  pale  blue  top,  on  which  stands  a  purple 
green  and  gold  incense-burner  and  a  dull  green  vase 
with  two  gold-eyed,  dark  green  peacock  feathers. 
Ch'ien-lung  (1736-1795).  Diameter  8  inches. 

484.  ROSE-BACKED  SAUCER,  egg-shell  porce- 
lain. A  lady,  in  rose  jacket,  pale  green  apron,  and 
white  skirt,  is  seated  facing  to  the  left,  in  a  pale  yellow 

96 


OF    CHINESE    PORCELAINS         [CASE    XVIII 

brown-spotted  bamboo  armchair;  over  her  left  shoulder 
she  holds  a  gold-mounted  white  fly-flap.  To  the  right 
a  child  in  rose  coat  and  blue  trousers  and  gold  necklet 
runs  with  raised  hands  toward  another  in  green  coat 
and  trousers,  a  gold  neck-chain  with  large  gold  pendant 
and  rose  tassel  hanging  down  his  back;  another  in 
brilliant  blue  coat  looks  out  from  beyond  the  lady  to 
the  left,  in  front  of  him  a  white  rabbit  with  rosy  ears 
sits  on  the  floor,  and  another  spotted  one  in  the  centre 
foreground.  To  the  right,  behind  the  lady's  chair, 
stands  a  large  white  cracked-ice  jar. 
Ch'ien-lung  (1736-1795).  Diameter  8  inches. 

485  to  492.  EIGHT  ROSE-BACKED  SAUCERS, 
egg-shell  porcelain.  In  the  white  central  circle,  a  lady 
in  rosy-purple  jacket  lined  with  pale  yellow,  green  em- 
broidered apron,  and  pale-rose  skirt  and  gold-em- 
broidered black  scarf,  sits  on  a  box-seat  of  deep  cucum- 
ber-green with  rosy  panels  and  brown-yellow  top,  rest- 
ing her  right  hand  on  a  blue-  or  green-covered  box  of 
books  which  stands  on  the  seat  to  the  left,  as  she  looks 
down  at  two  children  to  the  right,  one  of  whom,  in  rose 
coat,  light  green  pants,  and  necklace  with  two  gold 
pendants  suspended  behind  him,  presents  to  her  a  lotus 
plant  with  white  and  rose  flowers  growing  in  a  golden 
jardiniere.  Beyond  the  two  a  massive  oval  jar  and  a 
large  covered  jar;  and,  behind,  a  yellow  circular  bam- 
boo stand  with  mottled  top,  on  which  is  a  rose  camellia 
and  a  vase  of  purple  and  green. 
Ch'ien-lung  (1736-1795).  Diameter  8  inches. 

CASE  XIX 

493,  494.  TWO  BEAKERS  with  long  narrow  necks 
with  convex  centres,  spreading  mouths  and  bases,  and 
black  handles.  These  two  beakers,  brilliantly  dec- 
orated in  enamel  colors   of  early  K'ang-hsi  date,  are 

97 


CASE    XVIIl]        THE    MORGAN   COLLECTION 

remarkable  for  the  fact  that  the  blue  is  all  under  the 
glaze,  having  been  fixed  at  the  first  firing,  after  the 
technique  of  the  preceding  Ming  dynasty.  The  mo- 
tive is  a  historical  scene,  the  Emperor  Yu  Wang  (B.  C. 
781-771),  of  the  Chou  dynasty,  being  seated  with  his 
favorite  consort,  Pao  Ssu,  surrounded  by  courtiers 
watching  the  arrival  of  feudatories  who  had  been  sum- 
moned by  a  false  alarm  to  rescue  the  capital  from  a  pre- 
tended assault  by  Tatars,  all  to  gain  a  smile  from  the 
notorious  Pao  Ssu.  {See  Mayer's  Chinese  Reader's  Man- 
ual, p.  168). 
K'ang-hsi  (i 662-1 722).  Height  26>^  inches. 

495.  TALL  BEAKER  with  long  neck,  spreading 
mouth,  and  slightly  spreading  base,  of  the  same  beauty 
and  style  of  decoration  as  No.  475.  The  emblems 
enclosed  in  the  brocaded  band  around  the  shoulder 
are  all  musical,  comprising  a  bronze  bell,  castanets,  a 
mouth  reed  organ,  and  a  copper  chime  mounted  on  its 
frame.  The  appropriate  association  of  birds  and  flow- 
ers in  the  reverse  panels  is  proceeded  by  pictures  of 
the  phoenix  and  peony,  of  mandarin  ducks  and  lotus 
flowers,  wild  geese  and  reeds,  of  storks  and  peaches, 
joins  emblems  of  longevity,  and  the  rest.  Among 
animals  sacred  deer  are  grouped  with  pines,  the  sea 
monster  and  eagle  with  pines,  and  dryandras,  and  the 
eight  chargers  of  the  ancient  Emperor  Mu  Wang,  with 
willows. 
K'ang-hsi    (1662-1722).  Height   32   inches. 

496, 497.  TWO  BEAKERS  with  long  necks  and 
spreading  mouths  and  bases.  Each  shows  on  the  body 
an  exceedingly  rich  decoration  in  which  green  and  gold 
predominate;  two  crested  pheasants  in  plumage  of  blue, 
red,  green,  orange,  and  gold  on  the  limb  of  a  tree,  with 
blue-green  and  white  flowers,  which,  starting  in  front 
of  pale  green  and  purple  rocks,  spreads  upward  round 

98 


OF   CHINESE    PORCELAINS  [CASE    XIX 

the  vase;  red  flies  hover  round  the  ends  of  the  branches, 
beneath  which  grow  red,  blue,  green,  and  golden  peonies 
and  black  and  red  asters,  with  leaves  of  bright  purple 
and  pale  and  dark  green.  On  the  neck  are  two  finches 
in  green,  orange,  and  dark  blue,  with  black  heads,  one 
perched  on  a  deep  green  twig,  the  other  regarding  him 
from  a  rock  behind  which  grow  red,  purple,  and  gold 
peonies;  from  the  sandy  foreground  springs  purple  iris, 
and  above  is  a  golden  sun. 
K'ang-hsi  (1662- 1722).  Height  17^  inches. 

498.  BOWL  of  white  porcelain.  Decorated  in  bril- 
liant enamel  colors,  showing  a  ceremonial  scene  where 
a  personage  in  yellow  robe,  green  cape,  and  gold  head- 
dress, performs  on  a  yellow-topped  drum,  decorated 
with  red  lotus  and  scroll-work,  accompanied  on  the 
flute  by  another  man  in  blue  with  a  green  cape  and 
black  and  gold  hat,  while  two  in  pale  green  official 
robes  embroidered  in  black  hold  gold  banners  charged 
with  emblems  of  the  sun  and  moon,  and  borders  of 
blue;  behind,  another,  in  bright  green,  holds  a  sacri- 
ficial tripod  cup  aloft  in  his  left  hand.  To  the  left  a 
man  in  red,  green,  and  rose  stands  by  a  lady  in  green, 
red,  and  gold,  who  holds  a  fan ;  beyond  them  stands  a 
pale  yellow  stag  embellished  with  black  stars  and  rosy 
horns,  and  a  rose-colored  doe  spotted  with  black  circles, 
close  to  a  green  palm  behind  a  fantastic  blue  rock.  In 
the  foreground  a  man  in  blue  robe  and  gold  belt  kneels 
and  points  to  the  left.  All  the  men  have  official  hats 
of  black  and  gold.  From  the  right  come  five  girls,  in 
red,  yellow,  green,  pale  green,  and  bright  blue  dresses, 
playing  on  musical  instruments,  another  in  bright  green 
carries  a  gold  wine-pot.  In  the  foreground  are  two 
red-crested,  black  and  white  cranes.  A  building  with 
swastika  grill  in  black  on  green,  and  a  panel  of  flowered 
hexagon  in  red  on  white,  forms  a  background  to  the 
group.    A  long  window,  at  each  side  of  which  hang  pale 

99 


CASE    XIX]  THE    MORGAN    COLLECTION 

yellow  curtains,  decorated  with  deep  purple  plum 
blossoms  and  a  pale  red  one  with  nebulae  and  lozenges 
in  deep  red  and  gold,  is  seen  between  the  girl  musicians 
and  two  others  in  green,  pale  green,  yellow,  and  gold, 
who  follow  with  gold  incense  burners  hanging  from 
rods;  between  these  two,  in  the  distance,  is  a  peacock 
with  expanded  tail  of  rich  blue  spotted  with  gold;  next 
comes  a  lady  in  yellow,  red,  and  green  robes,  and  blue 
and  gold  peacock  head-dress,  followed  by  two  maids, 
in  pale  green,  with  black  and  gold  head-gear,  who 
carry  long-handled  fans  of  red,  blue,  and  gold.  Last  of 
the  procession  are  two  girls  in  pale  green,  who  are  com- 
ing through  a  gateway  in  a  wall  topped  with  yellow 
tiles,  one  carrying  a  red  cushion.  The  wall  ends  in  a 
green-tiled  pagoda  tricked  with  blue,  with  blue  and  red 
swastika  grills,  and  a  window  from  which  a  lady  in 
bright  blue  and  green,  holding  a  gold  fan,  another  in 
green,  and  a  man  in  rose,  are  looking  forth.  Large  palms 
and  red  chrysanthemums  shooting  from  behind  purple 
and  green  rocks,  with  trees  beyond,  with  bright  red 
flowers,  intervene  here;  above  are  clouds  traced  in  red, 
among  which  is  seen  part  of  a  green-tiled  building, 
trimmed  with  red  and  purplish  blue,  and  a  gold  fire- 
emblem  at  the  peak. 

Mark:  A  seal  in  a  double  blue  ring,  containing  the  char- 
acter chih,  meaning  "by  imperial  order." 
K'ang-hsi  (1662- 1722).  Diameter  15  inches. 

499.  ROSE-BACKED  PLATE,  egg-shell  porcelain. 
The  central  circle  has  a  ground  of  black  Y-pattern  un- 
der light  cobalt-blue  enamel,  with  a  hexagonal  foliated 
white  reserve,  outlined  in  purple  and  gold,  showing  a 
lady  in  pale  rose  jacket,  white  skirt,  and  deep  blue 
scarf,  standing  in  the  foreground  to  the  right,  with  a 
black  bird's  wing  in  her  right  hand,  looking  down  at  a 
long-tailed,  black-spotted  white  cat  standing  upon  a  pale 
yellow-green  citron  with  deep  green  leaves.     Beyond, 

100 


OF    CHINESE    PORCELAINS  [CASE    XIX 

to  the  left,  stands  another  lady,  dressed  in  pale  rose 
and  greenish-yellow,  who  holds  up  a  gold  ju-i  sceptre 
from  which  hang  two  interlocked  gold  rings,  and  pre- 
sides over  a  blue  dish  of  rosy  apples  and  pale  yellow 
citrons  ("hands  of  Buddha");  to  the  left  two  children, 
in  coats  of  pale  rose  and  blue  and  white  trousers,  stand 
together  looking  longingly  at  the  fruit. 
Ch'ien-lung  (i  736-1 795).  Diameter  8X  inches. 

500.  ROSE-BACKED  PLATE,  egg-shell  porcelain. 
A  foliated  octagonal  gold-edged  white  reserve  showing 
a  bronze  flower-basket  with  black  Y-pattern  and  white 
circular  medallions  with  sprays  of  peony,  prunus  and 
aster  in  rose,  blue-green,  and  yellow;  round  the  handle, 
which  falls  to  the  left,  is  tied  a  bright  cobalt-blue  ribbon 
with  gold  ends.  The  basket  is  filled  with  rose  peonies 
and  pinks,  blue  and  yellow  asters,  and  white  prunus. 
On  a  rose-colored  stand  to  the  right  is  a  brilliant  cobalt- 
blue  dish,  containing  green  apples,  broken  pomegran- 
ate, yellow  "hand  of  Buddha,"  and  a  rose  camellia. 
Ch'ien-lung  (1736-1795).  Diameter  8f  inches. 

501,  502.  TWO  ROSE-BACKED  PLATES,  egg- 
shell porcelain.  Each  with  a  central  round  medallion 
with  irregular  wavy  edge  defined  in  black,  showing  a 
lady,  in  dress  of  pale  rose  and  green,  seated  on  a  rose- 
colored  garden-seat  facing  to  left,  her  sleeve  resting  on 
the  corner  of  an  ebony  table  with  black  and  white  mar- 
ble top,  part  of  which  is  seen  in  the  right  foreground, 
and  on  it  a  pear-shaped  vase  of  brilliant  ultramarine, 
on  a  rose-colored  stand,  in  which  is  a  spray  of  rose 
prunus;  beyond  is  a  gold  plate  with  rosy  apples.  In 
her  right  hand  the  lady  holds  a  twig  of  red  prunus  with 
leaves  and  fruit.  Beyond,  to  the  left,  runs  a  child  in 
an  ultramarine  coat  and  pale  rose  trousers,  looking  up 
at  the  lady,  and  extending  his  right  arm  in  the  air. 
Ch'ien-lung  (1736-1795).  Diameter  8^  inches. 

lOI 


CASE    XIX]  THE    MORGAN    COLLECTION 

503.  ROSE-BACKED  PLATE,  egg-shell  porcelain. 
In  the  central  circle  on  the  right  is  a  house  decorated  in 
dark  green  and  brilliant  cobalt  blue,  with  deep  green 
tiles  and  foundation  of  orange  masonry  edged  with  pale 
blue  marble,  with  a  row  of  purple  lotus  petals  above. 
A  wooden  walk,  outlined  in  red-brown,  connects  the 
house  with  a  purple  and  green  pavilion,  partly  seen  on 
the  left,  in  which  two  men,  one  in  cobalt,  the  other  in 
sulphur-yellow,  are  seated  looking  at  one  in  a  rose-col- 
ored robe  who  gallops  toward  them  below  on  a  spotted 
white  horse.  To  the  left  in  the  foreground  another  is 
seen,  in  cobalt  blue,  on  a  black  horse. 
Ch'ien-lung  (1736- 1795).  Diameter  8X  inches. 

504  to  506.  THREE  ROSE-BACKED  SAUCERS, 
egg-shell  porcelain.  In  the  white  central  circles  are 
two  rose  peonies  with  blue-green  leaves,  below  them  a 
white  flower  with  yellow  centre;  a  yellow,  rose-spotted 
citron  is  partly  visible  behind,  to  the  left  a  part  of  an- 
other, and  white  and  blue  asters.  Encircling  this  de- 
sign is  a  border  of  black  flowered  lozenge  on  pea-green 
defined  inside  in  gold,  outside  in  black,  outside  which 
a  border  of  black  Y-pattern  on  pale  greenish-blue. 
Ch'ien-lung  (1736-1795).  Diameter  7>^  inches. 


CASE  XX 

507,  508.  TWO  TALL  BEAKERS  with  serrated  ver- 
tical flanges  and  chimaera  handles.  Boldly  and  charac- 
teristically decorated  in  the  polychrome  enamels  of  the 
reign  of  Wan-li,  known  as  fVan-li  wu  ts'ai.  They  are 
productions  of  the  imperial  pottery  of  the  time,  being 
decorated  with  five-clawed  dragons  and  phoenixes  for 
the  use  of  the  palace.  The  five  colors  (wu  ts'ai)  of  the 
period  are  blue,  green,  red,  yellow,  and  black.  The  blue 
is  always  under  the  glaze,  the  other  colors  are  enamels, 

102 


OF   CHINESE    PORCELAINS  [CASE    XX 

painted  on  over  the  glaze,  and  fixed  by  a  second  firing 
in  the  muffle  stove.  The  latter  comprise  a  full,  deep 
green,  a  brownish  red,  and  a  pale  yellow,  all  three 
roughly  put  on  with  the  brush,  and  subsequently  de- 
fined and  filled  in  with  pencilled  lines  of  black.  The 
floral  background  is  mainly  composed  of  sprays  of 
peony  and  chrysanthemum,  and  the  decoration  is  com- 
pleted by  diverse  bands  of  formal  ornaments,  foliations 
and  fret  peculiar  to  the  age.  The  piece  shows  evident 
signs  of  having  been  fashioned  in  four  separate  sec- 
tions, made  to  adhere  by  "slip,"  and  covered  with  a 
thick,  fluescent  glaze,  which,  according  to  the  ceramic 
records  of  the  time,  required  at  least  seven  days  for  its 
first  firing. 

Mark:  In  oblong  panel  beneath  the  lip,  Ta  Ming  IV an- 
li  nien  chih  (Made  in  the  reign  of  Wan-li  of  the  great 
Ming  dynasty). 

Wan-li  (1573-1619).  Height  34>^  inches. 

(plate  xxviii) 

509.  LARGE  OVOID  VASE,  with  tall  neck  and 
spreading  mouth.  The  whole  invested  with  a  dark 
opaque-rose  ground,  closely  sprinkled  with  sprays  of 
leafage  and  flowers  in  transparent  enamels.  At  the 
foot  a  cartouche  border,  and  under  the  lip  a  row  of  ju-i 
heads. 

Ch'ien-lung  (i 736-1 795).  Height    30    inches. 

510.  BEAKER  VASE,  with  long  neck  and  spread- 
ing mouth  and  base.  Decorated  with  red,  yellow,  and 
rose  peonies,  with  deep  green  leaves,  supporting  two 
large  quadrilateral  white  reserves  showing  lake  and 
mountain  scenery,  with  boats  and  foreground  rocks. 
In  the  right-hand  upper  corners  are  two  red  seals.  On 
the  sides  are  two  circular  reserves  enclosing  red  carp, 
and  below  them  two,  pomegranate-shaped,  with  dark 
green  shrimps.    The  neck  is  decorated,  like  the  body, 

103 


CASE   XX]  THE   MORGAN    COLLECTION 

with  two  Upright  quadrilateral  reserves  showing  similar 
seals  and  landscapes,  one  with  a  seven-starred  con- 
stellation in  the  left  upper  corner.  The  square  seal 
which  is  repeated  in  several  of  the  reserve  panels  of  the 
decoration  of  this  vase  is  Chu  Chii  (Bamboo  Retreat), 
and  represents  the  studio  name  of  the  artist  decorator. 
K'ang-hsi  (1662-1722).  Height   19  inches. 

511.  LARGE  BOWL.  In  a  purple  boat  under  a 
yellow-topped  canopy  with  green  border  are  travellers; 
a  bearded  man,  in  black  hat  and  rose-edged  purple  robe, 
sits  at  a  table  drinking  with  another  dressed  in  green 
with  a  pink  sash;  to  the  left  an  attendant  in  green 
brings  a  yellow  flask.  To  the  right  another  man  clad 
in  yellow,  with  a  black  hat,  is  talking  to  one  in  a  rose- 
colored  blouse  and  green  skirt  outside  the  canopy.  An- 
other in  a  green  blouse,  purple  breeches,  and  a  straw  hat 
sculls  with  a  large  yellow  oar.  Forward,  a  bare- 
headed person  in  purple  blouse  and  white  breeches 
crouches,  drawing  wine  from  an  urn.  To  the  left  are 
vast  purple  and  green  rocks,  a  shooting  cataract,  and 
umbrageous  trees.  To  the  right  are  also  rocks  and 
trees  in  bewildering  perspective.  Above  the  boat  ap- 
pears the  yellow  crescent  moon,  and  two  groups  of 
yellow  stars.  One  third  of  the  outer  surface  of  the 
piece  is  occupied  by  twenty-two  columns  of  Chinese 
characters  descriptive  of  the  excursion  depicted. 
Mark:  Ta  Ch'ing  Kang-hsi  nien  chih  (Made  in  the 
reign  of  K'ang-hsi  of  the  great  Ch'ing  dynasty). 
K'ang-hsi  (1662-1722).  Diameter  15  inches. 

512.  BEAKER  VASE.  Intricate  and  fantastic 
decoration  in  transparent  enamels  in  the  southern 
Mongol  style. 

Ch'ien-lung  (i 736-1 795).  Height  18  inches. 

513.  OVOID  JAR,   with   cylindrical   cover,     Dec- 

104 


OF   CHINESE    PORCELAINS  [CASE    XX 

orated  with  conventional  lotus  with  scroll  stalks  and 
leaves  in  white  reserve  on  a  red  ground,  interrupted  by 
three  white  upright  foliated  lozenge  reserves,  two  en- 
closing birds  and  flowers,  and  one  with  emblems,  in 
enamel  colors.  Above  and  below  three  foliated  semi- 
lozenges  intervene,  containing  red  chrysanthemums 
with  scroll  leaves  in  green. 
K'ang-hsi  (i 662-1 722).  Height   io)4  inches. 

514.  ROSE-BACKED  PLATE,  egg-shell  porcelain. 
In  the  central  white  circle  on  a  brilliant  cobalt-blue 
rock  in  the  yellow-green  earth  stands  a  pheasant  of 
gorgeous  plumage.  His  mate  sits  to  the  right  partly 
concealed  by  the  rock,  from  behind  which  branch  out 
rose  and  white  peonies  with  yellow  and  blue  green 
leaves  and  brilliant  yellow  asters  below. 

Early  Ch'ien-lung  (1736-1795).     Diameter  8X  inches. 

515.  ROSE-BACKED  PLATE,  egg-shell  porce- 
lain. In  the  foreground,  preening  his  breast,  stands 
a  chocolate-colored  quail  mottled  with  bluish-white,  his 
head  and  breast  a  pale  rosy-brown;  to  the  right  stands 
his  mate  looking  upward  at  a  butterfly  of  iridescent 
green  and  rose  that  comes  flying  to  the  rose  and  yellow 
chrysanthemum  which  forms  a  background  to  the  birds; 
to  the  left  another  quail  approaches,  looking  for  food 
in  the  sand.  A  border  of  arabesque  scrolls  in  brilliant 
cobalt  on  white,  edged  with  black  and  gold,  separates 
the  white  centre  from  the  edge. 

Ch'ien-lung  (1736-1795).  Diameter  8  inches. 

516.  ROSE-BACKED  PLATE,  egg-shell  porcelain. 
In  the  centre,  to  the  right,  on  a  purple-gray  and  black 
rock,  stands  a  quail  preening  his  left  shoulder,  his  head, 
wings,  and  back  are  dark  chocolate,  the  latter  streaked 
with  bluish-white;  his  breast  is  pale  rosy-brown.  Be- 
yond him  grow  white  and  rose  chrysanthemums,  with 

105 


CASE    XX]  THE    MORGAN    COLLECTION 

rich  green  leaves  of  varying  shade.  Before  him,  to  the 
left,  another  quail,  whose  breast  is  of  a  deeper  shade, 
is  pecking  at  some  purple  and  yellow  asters  growing 
beneath  the  rock.  A  third  bird  is  partly  seen  stand- 
ing beyond  him.  Encircling  this  design  is  a  border  of 
black-flowered  lozenge  on  pale  greenish-blue.  On  the 
edge  is  a  border  of  large  octagon-and-square  in  black 
on  pale  rose,  dotted  with  blue,  interrupted  by  three  ob- 
long white  reserves  with  foliated  ends  defined  in  gold 
and  deep  blue,  enclosing  a  rose  peony  and  a  yellow 
peach,  a  white  chrysanthemum,  and  a  rose  peony  with 
green  and  yellow  citrons. 
Ch'ien-lung  (1736-1795).  Diameter  8X  inches. 

517,518.  TWO  ROSE-BACKED  PLATES,  egg- 
shell porcelain.  Each  with  a  view  of  a  lake;  in  the 
centre  is  an  island  with  purple,  overhanging  rocks,  deep 
green  trees,  and  small  buildings;  beyond  are  boats  and 
a  red  and  purple  rocky  shore,  with  gray  precipitous 
mountains  in  the  distance. 
Ch'ien-lung  (1736-1795).  Diameter  8X  inches. 

519.  ROSE-BACKED  SAUCER,  egg-shell  porce- 
lain. In  the  centre  a  lady  in  delicate  rose  green,  and 
black  costume  sits  on  a  long  green  bench,  holding  a 
white  and  gold  fan  in  her  left  hand,  while  adjusting  her 
head-dress  with  the  right.  In  the  foreground,  to  the 
right,  stands  a  child,  in  a  pale  rose  jacket  and  pale  blue 
trousers,  a  gold  chain  on  his  neck,  who  presents  to  the 
lady  with  his  left  hand  a  sparrow  on  a  perch;  in  his 
right  he  holds  a  small  bottle-gourd,  and  looks  back- 
ward toward  another  child  dressed  in  pale  lilac,  and  a 
gold  head  ornament,  who  stands  behind  the  seat,  hold- 
ing in  his  right  hand  a  black  sang,  or  organ.  The  de- 
sign is  enclosed  by  a  border  of  black  flowered  octagon- 
and-square. 
Ch'ien-lung  (1736-1795).  Diameter  8  inches. 

106 


>  OF    CHINESE    PORCELAINS  [CASE    XX 

520.  ROSE-BACKED  SAUCER,  egg-shell  porce- 
lain. On  a  ground  of  flowered  octagon,  the  squares  a 
pale  blue-green,  a  white  leaf-shaped  reserve  outlined 
in  black  and  gold,  with  rose  peonies,  red  prunus,  and 
yellow-eyed  asters  partly  seen  round  the  edge,  encloses 
a  lady  in  a  costume  of  delicate  rose,  pale  sea-green, 
yellow,  and  black,  seated  on  a  dark-brown  bench,  hold- 
ing at  her  right  shoulder  a  baby  in  brilliant  cobalt  dress. 
In  the  foreground,  before  her,  two  children,  in  blue  and 
pale  rose  coats  and  gold  necklets,  play  with  a  black  and 
white  rabbit. 

Ch'ien-lung  (1736-1795).  Diameter  7^  inches. 

521.  ROSE-BACKED  SAUCER,  egg-shell  porce- 
lain. In  the  centre,  on  a  long,  low,  light-brown  bench, 
sits  a  gray-bearded  personage  of  cheerful  countenance, 
in  pale  cobalt  blue  coat,  white  trousers,  and  rose-border- 
ed slippers,  resting  his  right  arm  on  a  light  green  box 
of  books.  Behind  stands  a  young  lady,  in  a  pale 
yellow  jacket  and  rose  skirt,  her  hand  resting  on  his 
right  shoulder.  To  the  right  stands  a  lady  in  coat  of 
rosy-lilac,  white  delicately  embroidered  skirt,  and  dark 
wine-colored  sash  with  gold  ring,  offering  a  rose  cam- 
ellia; in  her  left  hand  she  holds  a  gold-bordered  white 
fan,  from  behind  which  a  boy,  in  a  light  rose  coat  and 
white  trousers,  peeps  out  and  drops  a  pale  yellow  fan. 
Ch'ien-lung  (1736- 1 795).  Diameter  7|<^  inches. 

522.  ROSE-BACKED  SAUCER,  egg-shell  porce- 
lain. In  the  centre  is  a  lady,  in  pale  grass-green  jacket 
and  rose  skirt,  reclining  on  a  green  lounge,  her  right  arm 
resting  on  a  jar  of  deep  brilliant  blue,  with  oval  ruby- 
colored  medallions;  in  front,  on  the  floor,  lies  one  of  her 
slippers;  to  the  right  a  small  brown  dog  holds  the  other 
in  his  mouth. 

Ch'ien-lung  (1736-1795).  Diameter  7X  inches. 

107 


CASE    XXl]         THE   MORGAN    COLLECTION 
CASE    XXI 

525.  CYLINDRICAL  VASE,  club-shaped.  A  cyl- 
indrical vase  of  the  K'ang-hsi  period  cleverly  deco- 
rated with  two  shades  of  vermilion  in  combination 
with  gold.  The  motive  of  its  decoration  is  the  legend 
of  the  transmigration  of  fish  into  dragons,  which  we 
have  met  with  before.  A  carp,  repeated  on  either  side, 
in  the  act  of  springing  up  the  celebrated  cascades  of 
the  Yellow  River  at  the  Lung  Men,  or  Dragon  Gate, 
figured  here  by  twin  perpendicular  rocks.  A  pair  of 
four-clawed  dragons,  into  which  the  fishes  are  pre- 
sumed to  have  changed,  envelop  the  rest  of  the  vase 
in  their  scaly  folds,  pursuing  two  whirling  jewels  of 
omnipotence  in  the  midst  of  flaming  clouds.  The 
shoulder  of  the  vase  is  covered  with  swastika  pattern 
diaper  studded  with  prunus  blossoms,  interrupted  by 
panels  of  emblems  of  "the  four  liberal  arts."  The 
neck  displays  shou  characters  with  swastika  symbols 
wanshou  (a  myriad  ages !)  together  with  formal  sprays 
of  sacred  fungus,  and  the  decoration  is  completed  by 
formal  borders  of  castellated  design,  rectangular  and 
sceptre-head  fret. 

K'ang-hsi  (i  662-1 722).  Height    18  inches. 

526,  527.  TWO  CYLINDRICAL  VASES  with 
spreading  lips,  on  ormolu  stands.  Covered  with  floral 
scrolls  in  white  on  a  vermilion  ground,  with  arabesque 
borders  on  shoulders  and  bases  in  brilliant  red,  blue, 
and  green  enamels. 

K'ang-hsi  (1662-1722).  Height  21   inches. 

528,  529.    TWO  OVOID  JARS,  with  straight  lids. 
Floral  scroll  in  white  on  a  vermilion  ground. 
K'ang-hsi  (1662- 1722).  Height  9K  inches. 

530.    OVOID  VASE  with  short  neck,  spreading  lip 

108 


OF    CHINESE    PORCELAINS  [CASE    XXI 

and  base.     White  chrysanthemum  scroll  on  a  vermil- 
ion ground,  with   reserves  of  varied  form  enclosing 
lions,  carp,  butterflies  and  emblems. 
K'ang-hsi  (i  662-1 722).  Height   17  inches. 

531.  OVOID  VASE  with  gold  cover.     White  por- 
celain, with  a  four-clawed  dragon  in  red,  green,  and 
yellow  surrounded  by  red  and  green  nebulae. 
K'ang-hsi  (1662-1722).  Height    15    inches. 

532,  533.  TWO  PILLOWS.  Two  rectangular  pil- 
lows decorated  with  scrolls  of  peonies.  Each  pillow 
has  a  handle  on  one  side,  modelled  in  openwork  relief, 
the  one  as  a  spray  of  prunus,  the  other  as  a  branch  of 
peaches. 

K'ang-hsi  (1662- 1722).  Height   17  inches. 

534.  BEAKER    VASE    with    narrow    neck.    The 
ground  is  frog-spawn  with  butterflies  and  ten  reserves 
of  varied  shape  showing  fabulous  animals  and  birds, 
flowers,  and  emblems,  in  brilliant  enamel  colors. 
K'ang-hsi  (1662-1722).  Height  25  inches. 

535.  FLASK-SHAPED    BOTTLE.    White    porce- 
lain, with  two  bright  red  and  gold  carp  in  a  green 
foaming  sea;  from  the  lip  droops  a  branch  with  red 
flowers,  which  are  also  scattered  on  the  water. 
Yung-cheng  (1723-1735).  Height    17    inches. 

536.  QUADRILATERAL  VASE,  tapering,  with 
spreading  lip  and  pyramidal  base.  Figures  of  the  gods 
of  longevity,  rank,  etc.,  attended  by  boys,  are  modelled 
in  high  relief  on  the  body,  and  emblems  on  the  neck;  on 
shoulder  is  scroll  peony  on  frog-spawn,  and  on  base 
flowers  on  dark  green  curl-work. 

K'ang-hsi  (1662- 1722).  Height  17^  inches. 

537.  LARGE     FISH-BOWL.       Red,  blue,  green, 

109 


CASE    XXlJ  THE   MORGAN    COLLECTION 

and  gold  dragons  in  contortions,  over  a  foaming  green 
sea,  on  which  red  and  white  plum  blossoms  are  scat- 
tered.    Above  are  red,  black,  and  green  nebulae. 
K'ang-hsi  (1662- 1722). 

Height  18  inches.     Dameter  22  inches. 

538.  QUADRILATERAL  VASE,  with  metal  rim 
and  pyramidal  base.  Yellow,  blue,  and  green  dragons 
and  knots  on  a  frog-spawn  ground  cover  the  shoulder 
and  side,  which  are  bordered  by  green  key-pattern 
and  red  ju-i  heads  in  relief;  on  each  side  are  two  re- 
serves in  relief  pierced  in  the  form  of  landscapes  with 
animals,  etc. 
K'ang-hsi  (1662-1722).  Height   14  inches. 

CASE  XXH 

541,  542.  TWO  CYLINDRICAL  VASES  with  or- 
molu lips  and  bases.  Green  and  blue  scroll  peonies 
and  green  water  dragons  on  a  vermilion  ground  sup- 
port circular  reserves  enclosing  red,  white,  and  blue 
flowers  on  green. 

K'ang-hsi  (1662-1722).  Height  20K  inches. 

(plate  xxx) 

543,  544.    TWO  BEAKERS.     White  floral  scroll  on 
vermilion  ground  on  neck  and  bases;  on  centres  in 
colors  on  green. 
K'ang-hsi  (1662- 1722).  Height  9X  inches. 

545.  TALL  BEAKER  VASE.  A  vase  of  surprising 
beauty  and  interest,  which  is  to  be  referred,  from  the 
form,  style  and  decorative  details,  in  connection  with 
the  double  ring  "mark"  under  its  foot,  to  the  reign  of 
K'ang-hsi.  The  variously  shaped  reserves  in  its  deco- 
ration are  filled  with  artistically  executed  panels  of 
picturesque  scenery  composed  after  the  best  style  of 

no 


OF    CHINESE    PORCELAINS  [CASE    XXII 

Chinese  art  to  illustrate  the  quotations  from  poets 
which  are  written  out  to  accompany  the  pictures.  The 
literary  extracts  are  signed  by  two  seals  in  varied  script, 
which  would  be  attached  by  the  artist,  the  first  Shih 
Chii  being  his  nom  de  plume,  and  the  second,  Chu  Shih 
Chit  (Red  Rock  Retreat),  the  name  of  his  studio  or  hall- 
mark. His  work  has  been  met  with  elsewhere,  but  the 
present  is  incomparably  the  finest  example  that  has  yet 
been  noticed  in  the  ceramic  field. 
K'ang-hsi  (1662- 1722).  Height  28  inches. 

546,547.  TWO  CYLINDRICAL  VASES.  Covered 
with  scroll  peonies  in  blue-green  and  white,  and  water- 
dragons  on  a  vermilion  ground,  with  circular  green  me- 
dallions enclosing  red  and  white  conventional  peonies. 
K'ang-hsi  (1662- 1722).  Height  18K  inches. 

548,  549.  TWO  CYLINDRICAL  VASES  with 
spreading  mouths  and  bases.  Conventional  scroll  lotus 
on  a  vermilion  ground;  on  centres  broad  bands  of  frog- 
spawn  with  red  medallions  enclosing  white  water- 
dragons,  and  arabesque  borders  with  flowers  and  ju-i 
heads  in  blue,  red,  and  green  enamels. 
K'ang-hsi  (1662- 1722).  Height  17^^  inches. 

550.  OVIFORM  JAR  with  carved  ebony  cover. 
White  porcelain,  with  a  bold  design  of  two  red  and 
green  pheasants  with  black  wings  standing  on  red  and 
green  rocks,  from  which  spring  red  peonies  and  prunus. 
K'ang-hsi  (1662-1722).  Height  23X  inches. 

551.  CYLINDRICAL  VASE,  club-shaped.  White 
porcelain.  On  body  and  neck  an  elaborate  design  of 
red  and  blue  chrysanthemums  with  small,  white  scroll 
leaves  on  a  green  ground  supports  two  large  quadri- 
lateral reserves  showing  mounted  warriors  and  land- 
scapes; on  each  side  two  circular  medallions  with  flowers 

III 


CASE    XXIl]  THE   MORGAN   COLLECTION 

and  inscriptions.    On  the  shoulder  are  emblems  and 
green  chrysanthemum  flowers,  and  on  the  neck,  land- 
scape and  blue  flowers.     By  the  same  artist  as  in  545, 
and  same  seal  mark,  Chu-Shih-Chii. 
K'ang-hsi  (1662- 1722).  Height  1']%  inches. 

552.  OVIFORM  VASE  with  silver  cover.  White 
porcelain.  A  ground  of  yellow  and  red  peonies  on 
black  supports  two  quadrilateral  reserves  with  pictures 
of  historic  or  legendary  incidents;  two  circular  me- 
dallions on  each  side  show  ladies  and  crickets.  The 
cover  has  a  central  Shou  character  surrounded  by  five 
bats;  and  Shou  characters  and  knots  alternate  round 
the  side. 

K'ang-hsi  (1662- 1722).  Height  16^  inches. 

553.  OCTAGONAL,  CYLINDRICAL  VASE,  with 
short  neck  and  spreading  lip.  White  porcelain.  Scroll 
lotus  in  blue,  red,  and  green  on  body  and  neck,  and 
emblems  in  quadrilateral  orange-toned  reserves  on 
diaper  grounds  on  the  shoulder. 

K'ang-hsi  (1662-1722).  Height  16  inches. 


CASE  XXIII 

554,  555.  TWO  TALL,  FLUTED  MANDARIN 
VASES  with  dragon  handles  and  bases  of  ormolu.  A 
frog-spawn  ground  with  brilliant  butterflies  and  flowers 
supports  quadrilateral  and  foliated  reserves  enclosing 
landscapes,  flowers,  and  emblems;  the  whole  in  bril- 
liant enamels. 

K'ang-hsi  (i  662-1 722).  Height  26  inches. 

(plate  lxvii) 

556.  OVOID  JAR  with  bell-shaped  cover.  Covered 
with  wave  design  in  dark  purple  or  aubergine,  over 

1 12 


OF    CHINESE    PORCELAINS  [CASE    XXIII 

» 

which  are  scattered   isolated  blossoms  and   emblems, 
pointed  rocks  appearing  at  intervals  below. 
K'ang-hsi  (i 662-1 722).  Height  19X  inches. 

557.  DUCK,  standing  on  lotus  leaf,  his  back  pierced 
in  lozenge  shape.  He  is  rose  colored  with  a  brilliant 
blue  tail;  his  bill  unglazed;  the  leaf  a  celadon-green 
with  blue  stalks. 

K'ang-hsi  (1662-1722).  Height  13K  inches. 

558.  FIGURE  OF  KUEI-HSING,  the  popular  god 
of  literature.  Invested  with  vivid  enamel  colors. 
K'uei-Hsing  is  said  to  have  attained  the  highest  grade 
at  official  examinations,  but  was  denied  office  because 
of  his  ugliness;  whereupon  he  jumped  into  the  Yellow 
River  and  was  borne  to  his  present  place  in  the  firma- 
ment of  the  Dragon.  He  was  canonized  in  the  four- 
teenth century.  He  stands  poised  on  the  head  of  a 
fish-dragon,  the  emblem  of  literary  perseverance  and 
success.  In  one  hand  he  holds  a  pencil-brush,  and  in 
the  other  a  cake  of  ink. 

Ch'ien-lung  (1736-1795).  Height  17^^  inches. 

559.  PANEL  in  carved  ebony  stand.  Showing  a 
landscape  in  green,  rose,  and  purple-blue,  bordered 
with  green  diaper  with  purple  flowers  in  four  reserves. 
K'ang-hsi  (1662- 1722). 

Height  7^  inches.     Width  4X  inches. 

560.  LION,  seated.  Dark  green,  with  collar,  and 
flame  motive  along  his  spine. 

K'ang-hsi  (1662- 1722).  Height  16  inches. 

561.  PILGRIM  BOTTLE,  quatrefoil-shaped,  with 
bulbous  fluted  neck.  Lake  and  mountain  scenery  in 
bright  colors;  on  the  sides  and  neck  sprays  of  flowers 
on  a  pale  yellow  ground. 

K'ang-hsi  (1662-1722).  Height  9X  inches. 

»i3 


CASE    XXIIl]        THE    MORGAN    COLLECTION 

562.  A  SEATED  FIGURE  OF  KUAN-TI,  the  offi- 
cial god  of  war,  decorated  with  enamels  of  the  san  ts'ai, 
or  "  three  colored,"  palette,  with  certain  portions  left  en 
biscuit,  revealing  the  grayish  texture  of  the  parts.  The 
"three  colors"  are  green,  yellow  and  manganese  pur- 
ple of  aubergine  tint.  The  divinity  is  distinguished  by 
his  martial  attitude,  by  the  shape  of  the  helmet  with 
side  pieces,  and  by  the  jade-studded  girdle  round  his 
waist.  The  tortoise  and  serpent  intertwined  at  his 
foot  represent  the  hsuan  wu,  or  "sombre  warrow" 
which  is  the  northern  quadrant  of  the  uranoscope  and 
figures  moreover  as  a  symbol  of  military  prowess. 
K'ang-hsi  (1662-1722).  Height  loX  inches. 

563.  CRICKET  CELL.  This  curious  rectangular 
case,  with  its  pierced  open-work  sides  and  open  front, 
is  probably  intended  to  hold  fighting  crickets,  which 
would  be  shut  in  by  bamboo  screen  wired  to  the  posts 
through  the  holes  drilled  through  for  the  purpose.  The 
crickets  would  be  kept  in  the  lower  compartment  and 
when  required  to  fight  would  be  dropped  in  by  pairs 
through  the  hole  in  the  roof  of  the  cage  and  fight  out 
their  battle  on  the  horizontal  platform  below.  The  side 
posts  are  inscribed  with  a  moral  couplet  reading: 

In  the  third  watch  light  the  fire,  the  fifth  watch  is  cockcrow. 
And  this  in  truth  is  the  proper  time  for  a  boy  to  get  up. 

The  sides  of  the  cage  are  artistically  painted  outside 
with  sprays  of  lotus  in  bright  enamel  colors  of  the 
K'ang-hsi  palette. 
K'ang-hsi  (1662- 1722). 

Height  6X  inches.  Width  4  inches. 

564.  FIGURE  OF  CHUNG-LI  CH'UAN,  one  of 
the  eight  Immortals,  seated.     His  robe  is  a  patchwork 

114 


OF    CHINESE    PORCELAINS  [CASE    XXIII 

of  brilliant  enamel  colors,  the  rest  of  the  piece  unglazed, 

but  has  been  gilded. 

K'ang-hsi  (1662- 1722).  Height  'jyi  inches. 

565.  COCK,  seated  on  a  rock.  His  body  is  yellow 
penciled  in  black,  his  comb  and  wattles  rose,  and  wings 
and  tail  variegated;  the  rock  is  black. 

K'ang-hsi  (1662- 1722).  Height  ^yi  inches. 

566.  FEMALE  FIGURE,  holding  fan,  on  pedestal. 
Her  robe  is  embroidered  with  floral  design  and  nebulae 
in  subdued  yellow,  rose,  and  green. 

K'ang-hsi  (1662-1722).  Height  11^  inches. 

567.  STATUE  OF  KWAN-YIN,  carrying  a  child 
and  a  basket  with  a  fish  and  flowers.  Her  robes  elabor- 
ately decorated  with  scroll  lotus,  butterflies,  and  flowers 
on  a  frog-spawn  ground.  She  stands  on  a  blossoming 
lotus  flower,  which  rests  on  a  table-like  pedestal,  the 
lower  part  having  blossoms  and  emblems  arranged  on  a 
dark  green  wave  pattern;  in  front  is  a  triangular  panel 
with  a  circular  Shou  character  on  a  ground  of  green 
swastika  fret. 

K'ang-hsi  (i  662-1 722).  Height  29  inches. 

(plate  xxxi) 

568.  FIGURE  OF  LI-T'IEH-KUAI  (Li  with  the 
Iron  Crutch) — the  patron  saint  of  astrologers  and 
magicians.  His  scanty  garments  are  decorated  with 
butterflies  and  lotus  flowers.  In  his  right  hand  he 
holds  his  crutch,  and  in  his  left  a  gourd  bottle. 
K'ang-hsi  (i 662-1 722).  Height  12  inches. 

CASE  XXIV 

569.  LARGE  PLATE.  With  eight  reserves  radiat- 
ing from  a  circular  medallion  containing  decorations 
of  birds,  flowers,  and  emblems  in  bright  enamel  colors; 

U5 


CASE    XXIVJ        THE    MORGAN    COLLECTION 

on  the  back  a  large  arabesque  border  capped  with  lotus 

flowers. 

Mark:  A  seal  in  two  rings. 

K'ang-hsi  (1662-1722).  Diameter  23 >^  inches. 

570,  571.  TWO  LIONS  moulded  in  the  usual  con- 
ventional type  of  large  size  and  decorated  with  enamel 
colors  of  K'ang-hsi  date.  One  has  the  brocaded  ball 
(hsiu  ch'iu),  the  other  a  cub.  The  red  flames  on  the 
shoulders  and  hips,  generally  taken  to  be  marks  of  its 
supernatural  character,  represent  probably  the  presence 
of  wings  in  the  archaic  model,  derived  doubtless  from 
Indo-Persian  sources.  The  lions  are  posed  upon  four- 
sided  pedestals,  decorated  in  panels  with  flowers  of  the 
four  seasons. 
K'ang-hsi  (1662-1722).  Height  \S%  inches. 

572,  573.    TWO  CANDLESTICKS.    Traditional  ec- 
clesiastical type  of  candlestick,  two  of  which  are  in- 
tended to  stand  on  the  altar,  on  either  side  of  a  lion 
when  the  latter  figures  as  an  incense-burner. 
K'ang-hsi  (1662-1722).  Height  12  inches. 

574.  LIONESS,  seated  on  a  pedestal  with  cub. 
From  her  back  springs  a  hexagonal  tube  with  foliated 
top,  for  incense.  The  pedestal  has  a  pierced  foliated 
medallion  at  front  and  back,  and  is  decorated  with 
diapers  and  flowers. 

K'ang-hsi  (1662- 1722).  Height   14  inches. 

575,  576.    TWO  LIONS  with  cubs. 
K'ang-hsi  (1662-1722). 

Height  6%  inches.     Length  5>^  inches. 

577.    HORSE   with    saddle    and    bridle.     Splashed 
with  green,  red,  and  yellow. 
K'ang-hsi  (1662- 1722). 

Height  7X  inches.     Length  7K  inches. 

1 16 


OF    CHINESE    PORCELAINS  [CASE    XXIV 

578,  579.    TWO  LIONS  playing  with  balls.     Each 
supports  a  miniature  double-gourd  vase  on  his  back. 
K'ang-hsi  (1662- 1722). 

Height  5K  inches.     Length  6  inches. 

580.  STATUETTE  OF  TWO  LADIES  playing  chess. 
Tinted  in  aubergine,  green,  and  yellow.  A  good  rep- 
resentation of  the  Chinese  game  of  chess  (ch'i),  the 
gobang  of  the  Japanese,  which  is  supposed  to  be  useful 
in  military  tactics.  It  is  played  with  black  and  white 
men,  the  player  aiming  to  isolate  and  surround  his  ad- 
versary's men. 
K'ang-hsi  (1662- 1722).  Height  7  inches. 

581  to  585.  GARNITURE  OF  FIVE  PIECES: 
three  ovoid  vases  with  bell-shaped  covers,  and  two 
bulbous  vases  with  long  necks  and  handles,  all  on  por- 
celain stands.  Divided  vertically  in  convex  sections 
imitating  bamboo  and  covered  with  minute  floral  and 
geometric  decoration  in  bright  enamels. 
K'ang-hsi  (1662- 1722).  Height  8)4  and  10  inches. 

586.  MODEL  of  pagodas  with  rocky  background. 
Tinted  in  aubergine,  green,  and  yellow;  the  base  tiger- 
splashed. 

K'ang-hsi  (1662- 1722).  Height  7^  inches. 

587.  LIBATION-CUP  with  lizard  handles.  With 
floral  decoration  on  a  fish-roe  ground  in  brilliant  colors. 
K'ang-hsi  (1662-1722). 

Height  4  inches.     Diameter  5^  inches. 

588.  OCTAGONAL  TEA-POT  with  upright  han- 
dle. White  porcelain  decorated  with  flowers,  fowl, 
insects,  and  diapers  in  brilliant  colors;  the  handle  im- 
itates wound  cane. 

K'ang-hsi  (1662-1722).  Height  7  inches. 

117 


CASE    XXIV]      THE    MORGAN    COLLECTION 

589,  590.    TWO   LIONS   with    riders.     Painted   in 
vivid  enamel  colors. 
K'ang-hsi  (1662- 1722). 

Height  6%  inches.     Length  4X  inches. 

591.  TEA-POT  in  shape  of  a  peach.  Brilliant 
flowers  and  insects  on  a  fish-roe  ground.  From  the 
handle  and  spout  brilliant  blue  and  green  leaves  in 
relief  spread  over  the  upper  body. 

K'ang-hsi  (1662- 1722).  Height  5K  inches. 

592.  TEA-POT  in  shape  of  a  peach.     White  floral 
scroll  on  a  rich  green   ground  supports  two  white  re- 
serves with  birds  and  flowers  in  brilliant  colors. 
K'ang-hsi  (1662- 1722).  Height  5  inches. 

593.  FIGURE,  seated  on  a  Ch'ilin.  In  his  hand 
he  holds  a  mouth  organ  of  reeds.  His  garments  have 
floral  decoration  in  delicate  colors;  a  gold  ju-i  head 
hangs  from  his  neck.  The  lion  is  pale  rose  and  yellow. 
K'ang-hsi  (1662-1722). 

Height  7  inches.     Length  6^  inches. 

594.  595.  TWO  LOTUS  TEA-POTS  with  lizard 
handles  and  spouts.  The  bodies  show  the  red  petals 
of  the  flower  encircling  the  green  seed-pod  which  can 
be  seen  above;  the  lids  are  green  lotus  leaves;  the  han- 
dles are  greenish-yellow  and  the  spouts  aubergine. 
K'ang-hsi  (1662-1722). 

Height  4  inches.     Length  ^}4  inches. 

596.    GLOBULAR  TEA-POT.     Moulded  and  out- 
lined as  three  tiers  of  petals  enclosing  brilliant  blue, 
red,  and  green  flowers;  the  lid  is  a  green  lotus  seed-pod; 
the  handles  and  spout  black-speckled  green. 
K'ang-hsi  (1662- 1722). 

Height  3K  inches.     Length  6  inches. 

118 


OF    CHINESE     PORCELAINS        [CASE     XXIV 

597,  598.  TWO  PEAR-SHAPED  WINE-POTS.  A 
green  cracked-ice  ground  with  bands  of  purple  and  red 
lotus  petals  and  red  prunus  blossoms  supports  two 
white  peach-shaped  reserves  with  flowers  in  bright 
colors. 
K'ang-hsi  (1662-1722).  Height  8  inches. 

599,600.    TWO  PEAR-SHAPED  TEA-POTS.  Bril- 
liant floral  decoration  partly  in  relief,  on  a  ground  of 
black  curl-pattern. 
Ch'ien-lung  (i  736-1795).  Height  5  inches. 

601.  DOME-SHAPED  TEA-POT  with  upright 
handle.  Moulded  in  eight  vertical  panels  enclosing 
flowers  in  brilliant  colors;  the  handle  imitates  wound 
cane. 

K'ang-hsi  (1662- 1722).  Height  6%  inches. 

602,  603.  TWO  LIONS,  one  bearing  a  vase  and  the 
character  Yii,  the  other  a  metal  receptacle  for  incense, 
on  the  lid  of  which  sits  an  elephant.  Pale  green  tricked 
with  yellow  and  rose. 

K'ang-hsi  (1662-1722).  Height  4K  inches. 

(plate  xlii) 

604.  RECEPTACLE  FOR  INCENSE  on  a  carved 
wood  stand.  Modelled  in  the  shape  of  two  pink  gourds 
springing  from  pale-green  leaves  with  tendrils;  on  one 
leaf  a  rose-colored  butterfly  rests. 

Mark:  Ch'ien-lung    seal,    three-eighths    inch    square, 

in  purple  blue. 

Ch'ien-lung  (i 736-1 795).  Height  ^%  inches. 

605.  WINE-CUP,  quadri-foliate.  Floral  ornament 
on  frog-spawn. 

K'ang-hsi  (1662- 1722). 

Height  I  }i  inches.     Diameter  2^  inches. 

1 19 


CASE    XXIV]        THE    MORGAN    COLLECTION 

606.  SQUARE    TRAY.     Fishes     among     aquatic 
plants  in  green,  aubergine,  and  yellow.    The  hall-mark 
on    this    tray   is   unpublished    heretofore.     It    reads: 
Yu  hai  tang  chih  (Made  at  the  Jade  Sea  Hall). 
K'ang-hsi  (i  662-1 722).  Width  5X  inches. 

607.  WINE-CUP,  leaf-shaped.  Red  and  white 
chrysanthemums  on  alternate  sections  of  dull  yellow 
and  black. 

K'ang-hsi  (i  662-1 722). 

Height  I  %  inches.     Diameter  2%  inches. 

608.  TALL  CUP.  A  garden  scene  with  ladies  in 
green  and  red  at  tea. 

K'ang-hsi  (1662-1722). 

Height  4  inches.     Diameter  3  inches. 

609.  LIBATION-CUP  with  lizard  handle.     Covered 
outside  with  a  delicate  brocade  of  rose  lotus. 
K'ang-hsi  (1662- 1722). 

Height  3  inches.     Diameter  4X  inches. 

610.  BOWL  on  carved  ebony  stand.  A  relic  of  the 
Ming  reign  of  Chia-ching  (1522-66),  rare  and  interest- 
ing. It  is  a  little  tea-cup  {ch'a  wan),  of  bowl  shape, 
painted  in  the  deep  full  blue  of  the  period,  with  a  me- 
dallion containing  a  five-clawed  imperial  dragon  in- 
side, and  the  six-character  mark  Ta  Ming  Chia-ching 
nien  chih  underneath.  The  outside  of  the  bowl  is 
covered  with  a  deep  yellow  glaze,  with  a  decoration  in 
brownish  red  of  intensely  luminous  tone,  derived  from 
iron,  lightly  brushed  over  the  yellow  ground.  The 
decoration  consists  of  an  outdoor  procession  of  four 
boys,  carrying  vases  and  flowers  round  the  sides  of  the 
cup,  with  the  addition  of  a  scroll  of  foliage  encircling 
the  rim. 

Chia-ching  (i  522-1 566).  Diameter  4X  inches. 

120 


OF    CHINESE    PORCELAINS         [CASE    XXIV 

6i  i,6i2.  TWO  LIONS,  with  movable  eyes  and  tails, 
and  chus  on  rods,  crouching  on  pedestals.      Delicate 
green,  rose,  and  yellow. 
K'ang-hsi  (1662- 1722).  Height  7  inches. 

613.    LION-LIKE  MONSTER  with  pendant  ears 
and   horn,   with   its   cub,   on    pedestal.     Rich   green 
aubergine,  and  yellow;  the  cub  yellow,  tricked  with 
purple-blue. 
K'ang-hsi  (i  662-1 722).  Height  6^  inches. 

614,615.    TWO      HANGING      FLOWER-VASES 
with  porcelain   chains.     Reticulated   in   the  form  of 
tiers  of  knotted  cords;  the  tops  with  floral  brocades. 
K'ang-hsi  (1662- 1722).  Height  ^^  inches. 

616.    KUAN-TI,  the  god  of  war,  on  horseback.     In 
green  and  yellow  on  a  rose-colored  horse. 
K'ang-hsi  (1662- 1722).  Height  ^yi  inches. 


CASE  XXV 

617.  PLATE.  A  large,  superbly  decorated  plate 
painted  with  an  imperial  court  scene  in  brilliant  en- 
amel colors  and  gilding  of  the  K'ang-hsi  period.  The 
rich  floral  border  is  composed  mainly  of  the  chrysan- 
themum and  Nelumbian  lotus  and  there  are  three 
separate  sprays  of  peony  on  the  back  of  the  plate.  The 
main  decoration  is  an  animated  picture  of  the  evo- 
lutions of  a  band  of  gayly  dressed  Amazon  horsewomen 
in  a  palace  courtyard  in  the  presence  of  an  empress, 
who  is  attended  by  two  court  damsels  holding  feather 
fans,  and  by  a  eunuch  with  a  dish  of  fruit  or  cakes.  A 
curious  point  in  the  color  scheme  is  that  the  cobalt 
blue  is  in  the  usual  overglaze  relief,  in  the  main  picture, 
whereas  on  the  border  it  is  underglaze  applied  sur  his- 

121 


CASE    XXV]  THE    MORGAN    COLLECTION 

cuit  before  the  first  firing  after  the  older  style  of  the 
polychrome  arrangement  of  the  Ming  dynasty. 
K'ang-hsi  (1662-1722),  Diameter  i9>^  inches. 

618,619.  TWO  QUADRILATERAL  VASES  with 
pyramidal  bases.  The  main  decoration  of  the  first 
consists  of  landscape  pictures  and  po  ku  emblems  in 
leaf-shaped  panels.  That  of  the  companion  vase  is 
composed  of  flowers  of  the  four  seasons  associated 
with  birds. 
K'ang-hsi  (1662- 1722).  Height  21   inches. 

620,  621.    TWO     HEXAGONAL     FLOWER-RE- 
CEPTACLES.    Pierced  on  top  and  sides  to  show  in- 
terlaced rings  and  the  sacred  swastika,  and  painted 
with  rich  floral  brocade  and  lizard  dragons. 
K'ang-hsi  (1662- 1722). 

Height  7  inches.     Width  7K  inches. 

622.  OCTAGONAL        FLOWER-RECEPTACLE. 
Four  sides  have  panels  with  pierced  swastika  inter- 
rupted above  by  a  triangular  panel,  the  whole  painted 
in  rich  enamels  with  floral  and  geometric  brocades. 
K'ang-hsi  (1662- 1722). 

Height  10  inches.     Width  8X  inches. 

623,  624.    TWO  LIONS,  seated  on  rounded  pedes- 
tals.    Deep  green,  aubergine,  and  yellow. 
K'ang-hsi  (1662- 1722).  Height  5  inches. 

625,  626.    TWO  LION  INCENSE-HOLDERS,  one 
with  a  cub,  the  other  a  movable  chu  on  a  rod,  on 
pierced  quadrilateral  pedestals.     Painted  in  deep  green 
orange-yellow,  and  aubergine. 
K'ang-hsi  (1662-1722).  Height  8   inches. 

627.    HEXAGONAL  TEA-POT  with  fish  handle. 

122 


OF    CHINESE    PORCELAINS  [CASE    XXV 

Bright  cobalt-blue,  with   panels  pierced   as  flowering 

shrubs, 

K'ang-hsi  (1662-1722).  Height  5^^  inches. 

628.  DOME-SHAPED  TEA-POT  with  upright  han- 
dle. Geometric  and  floral  decoration  in  rich  colors. 
Mark:  Yung-cheng  nien  chih  (Made  in  the  reign  of 
Yung-cheng  1723-1735).  Height  6}i  inches. 

629.  LION  WINE-POT.  Floral  decoration  in  light 
green,  rose,  yellow,  and  black. 

K'ang-hsi  (1662- 1722).  Height  9  inches. 

630.  FISH-SHAPED  TEA-POT  with  upright  han- 
dle.    Orange  body  with  unglazed  dorsal  fin  and  tail, 
floating  in  green  waves;  the  handle  is  aubergine. 
K'ang-hsi  (i 662-1 722).  Height    6    inches. 

631,632.  TWO  HEXAGONAL  TEA-POTS  with 
fish  handles.  Six  pierced  panels  on  a  black  ground 
show  prunus,  bamboo,  and  pine — "the  three  friends"; 
on  the  necks  are  ju-i  heads,  and  lotus  petals  encircle 
the  bases. 
K'ang-hsi  (1662- 1722).  Height  6yi  inches. 

633.  FLAT  TEA-POT  with  upright  handle.    On  the 
sides  yellow  water-dragons,  and  a  vase  with  a  phoenix 
on  a  frog-spawn  ground  with  black  flowers;  on  front 
and  back  bamboo;  the  handle  wound  cane-work. 
K'ang-hsi  (1662- 1722).  Height  6%  inches. 

634.  FISH-SHAPED  WINE-POT  with  metal  top. 
The  body  is  white,  with  aubergine  tail,  back,  and  gills, 
and  yellow  eye;  the  handle,  spout,  and  waves  below  are 
green. 

K'ang-hsi  (1662- 1722).  Height  5>^  inches. 

(plate  xli) 

123 


CASE    XXV]  THE   MORGAN   COLLECTION 

635.  TEA-POT  with  rustic  spout  and  handle  and 
metal  chain.  Roughly  modelled  in  the  form  of  some 
fruit,  an  orange  or  pumelo,  for  example,  although  the 
accompanying  leafage,  which  is  adapted  to  form  the 
spout  and  handle,  suggests  more  strongly  the  peach,  a 
more  common  motive  of  form. 
K'ang-hsi  (i  662-1 722).  Height  5>^  inches. 

636  to  639.  FOUR  BAMBOO  TEA-POTS.  Model- 
led in  the  form  of  sections  of  bamboo,  each  section 
colored  either  rose,  yellow,  or  green  with  floral  deco- 
ration; the  handles  and  spouts  black.  The  three  star 
gods  of  happiness,  rank  and  longevity,  worked  in  re- 
lief on  three  of  the  sides  of  No.  636  are  associated  with 
a  fourth  figure  of  a  mandarin  standing  out  in  the  same 
prominent  relief  under  a  dryandra  tree  holding  a  bow 
from  which  an  arrow  has  just  been  shot  upward.  The 
quarry  is  a  dog,  seen  in  the  clouds  above,  doubtless 
the  celestial  dog  which  devours  the  sun  during  an 
eclipse,  and  which  the  civil  mandarin  in  charge  at  the 
time  always  has  to  demonstrate  against  to  rescue  the 
sun  from  its  attack. 

K'ang-hsi  (1662-1722).  Height  4%  inches. 

(plate,  xli) 

640,  641.   TWO  PEACH-SHAPED  TEA-POTS  with 
metal  lids.    Tinted  in  dark  aubergine,  rich  green,  and 
pale  yellow. 
K'ang-hsi  (1662-1722).  Height  4  inches. 

642.  HANGING  BASKET  with  lid  and  upright 
handle,  for  sweet-scented  flowers.  Honeycomb  re- 
ticulation interrupted  by  fruit  and  flowers  in  rich  en- 
amel colors. 

K'ang-hsi  (1662- 1722).  Height  5  inches. 

643.  LOTUS  TEA-POT.    Shaped  as  the  seed-re- 

124 


OF    CHINESE    PORCELAINS  [CASE    XXV 

ceptacle  of  the  lotus;  the  spout  and  handle  being  grace- 
fully curved  stalks  with   leaves;  green   and  orange- 
yellow. 
K'ang-hsi  (i  662-1 722). 

Height  2}i  inches.     Length  5  inches. 

644,645.    TWO    HEXAGONAL  TEA-POTS   with 
fish  handles.     With  panels  on  the  sides  pierced  as  pru- 
nus,  bamboo,  and  pine  on  green  or  yellow  ground. 
K'ang-hsi  (1662- 1722).  Height  5X  inches. 

646,  647.  TWO  HANGING  BASKETS  with  lion- 
top  covers,  for  fragrant  flowers.  Painted  green,  red, 
and  yellow,  with  honeycomb  reticulation  on  sides 
supporting  red  and  green  chrysanthemums:  the  han- 
dles simulate  wound  cane. 
K'ang-hsi  (i 662-1 722).  Height  5  inches. 

648.  GLOBULAR  TEA-POT.  Modelled  as  sec- 
tions of  bamboo  in  red,  yellow,  and  green,  and  deco- 
rated with  prunus,  bamboo,  and  pine. 

K'ang-hsi  (1662- 1722).  Height  4%  inches. 

649.  LOTUS  TEA-POT.  Similar  to  No.  643. 
K'ang-hsi  (1662- 1722). 

Height  3  inches.     Length  6  inches. 

650  to  652.   THREE  WRITER'S  WATER-CUPS. 
Shaped  as  lotus  seed-vessels  and  leaves,  and  painted 
in  green,  red,  and  orange-yellow. 
K'ang-hsi  (1662- 1722).  Length  4X  inches. 

653.    WINE-CUP,  oval  quatrefoil.     Fish  in  dark- 
green   waves   with    rose-colored   sky;   interior  ochre- 
yellow. 
K'ang-hsi  (1662- 1722).  Height   \%  inches. 

125 


CASE    XXV]  THE    MORGAN    COLLECTION 

654,655.    TWO  BRUSH-WASHERS.     Shaped  as 
lotus  leaves,  with  frogs  and  crabs,  and  lotus  seed-ves- 
sel with  two  petals  attached;  green,  orange,  and  au- 
bergine glazes. 
K'ang-hsi  (1662-1722).  Height  4^  inches. 

656.  WINE-CUP,  foliated.  Archaic  Shou  char- 
acters and  flowers  on  a  frog-spawn  ground;  ochre- 
yellow  interior. 

K'ang-hsi  (1662-1722).  Height  i><  inches. 

657,  658.  TWO  HEXAGONAL  WINE-CUPS. 
Floral  ornament  in  black,  yellow,  and  rose;  ochre-yel- 
low interior. 

K'ang-hsi  (1662- 1722).  Height  \%  inches. 

659.  FLOWER-SHAPED  BRUSH-WASHER,  with 
duck  inside.     Orange,  with  green  calyx  below. 
K'ang-hsi  (i 662-1 722).  Height  3  inches. 

660.  WRITER'S  WATER-CUP.    Green,  with  two 
orange-yellow  monkeys  posed  on  the  edge. 
K'ang-hsi  (1662-1722).  Height  4X  inches. 

661  to  674.    FOURTEEN  LIBATION  CUPS   with 
grotesque  animals  on  the  handles  and  bodies.     Deco- 
rated with  floral  and  geometric  ornament,  dragons, 
and  Shou  characters  in  brilliant  enamels. 
K'ang-hsi  (1662- 1722). 

Height  2  inches.     Length  4  inches. 

CASE  XXVI 

675.    LARGE    SAUCER.     Elaborate   floral    scroll- 
work on  centre  and  rim,  with  white  interval  between. 
Mark:  Artemisia  leaf  with  fillets. 
K'ang-hsi  (1662- 1722).  Diameter   i8>^  inches. 

126 


OF   CHINESE    PORCELAINS         [CASE    XXVI 

676, 677.  TWO  LIONS,  seated  on  quadrilateral 
pedestals;  one  with  chu,  the  other  with  a  cub.  The 
bodies  dull  green  tricked  with  rose  and  red;  the  cub  is 
yellow.  The  pedestals  have  butterflies  and  flowers, 
interrupted  by  the  overhanging  mat,  the  corners  of 
which  are  modelled  as  ling-chih  sacred  fungus. 
K'ang-hsi  (i 662-1 722).  Height   20   inches. 

(plate  xxxvi) 

678.  PHCENIX  WINE-POT.  The  sacred  fungus 
ling-chih — modelled  below  the  breast  and  on  the  neck 
of  the  pot;  the  whole  in  rich  green,  red,  yellow,  and  gold. 
K'ang-hsi  (1662-1722).  Height   11   inches. 

679.  COCK.     Painted  in  brilliant  enamels. 
K'ang-hsi  (1662-1722).  Height  \o}i  inches. 

68010685.  SIX  STATUETTES  of  Chinese  seated 
on  pedestals.  Clad  in  robes  embroidered  with  varied 
designs;  geometric  and  floral  decoration  on  the  pedes- 
tals; the  whole  in  bright  enamels.  These  six  little 
statuettes  are  all  figures  of  Taoist  character,  but  most  of 
them  have  lost  their  specific  attributes,  so  that  they  are 
difficult  of  identification.  No.  681,  however,  is  an 
exception,  as  he  still  holds  in  his  hand  a  flute,  the  dis- 
tinctive attribute  of  Han  Hsiang  Tzu,  one  of  the  group 
of  Pa  Hsien,  the  well-known  "eight  Immortals." 
K'ang-hsi  (1662-1722).  Height  6    inches. 

686.    WINE-POT,    shaped    as    a   monkey,    seated, 
eating  a  peach.     Deep  aubergine. 
K'ang-hsi  (i 662-1 722).  Height  ^%  inches. 

687  to  691.  GARNITURE  OF  FIVE  OCTAGONAL 
PIECES:  three  ovoid  jars  with  bell  lids,  and  two  bul- 
bous vases  with  handles;  on  four-footed  stands.  Floral 
and  geometric  ornament  in  deep  green,  rose,  and  yellow. 
K'ang-hsi  (1662-1722).       Height  loX  and  8^  inches. 

127 


CASE    XX Vl]        THE    MORGAN   COLLECTION 

692.  WINE-POT,  shaped  as  a  hen  with  chickens. 
The  body  yellow;  the  head  red,  blending  into  the  green 
of  the  neck,  wings,  and  tail. 

K'ang-hsi  (i 662-1 722).  Height  ^%  inches. 

693.  HEXAGONAL  TEA-POT  with  fish  handle. 
The  body  black  with  buff-edged  panels  pierced  in  floral 
design;  handle  and  spout  buff  and  green. 

K'ang-hsi  (1662-1722).  Height  6^  inches. 

694.  695.  TWO  HEXAGONAL  TEA-POTS.  On 
sides  pierced  honeycomb  panels  supporting  red  flower- 
ing plum-trees;  the  lids  pierced  in  floral  design,  painted 
in  delicate  rose,  yellow,  and  green. 

K'ang-hsi  (1662- 1722).  Height  5  inches. 

696,  697.    TWO    GLOBULAR    TEA-POTS    with 
fluted  saucers.     Chrysanthemum  and  peony  scroll  de- 
sign in  brilliant  enamels  on  black. 
Ch'ien-lung  (1736-1795). 

Tea-pots:  Height  4X  inches. 
Saucers:  Diameter  5^  inches. 

698,  699.    TWO  GLOBULAR  TEA-POTS  with  sau- 
cers.    With  pentafoliate  design  in  black  and  rose  ela- 
borated with  floral  ornament  in  brilliant  colors. 
Ch'ien-lung  (1736- 1795). 

Tea-pots:  Height  4}4  inches. 
Saucers:  Diameter  6  inches. 

700.  TEA-POT.  An  exquisitely  painted  tea-pot 
decorated  in  fine  enamel  of  the  famille  rose  with  gold. 
The  rich  floral  and  diapered  grounds  and  the  reserved 
panels  of  foliated  outline  filled  with  characteristic 
pictures  of  fighting  cocks  and  peonies  suggest  that  it 
must  once  have  belonged  to  an  eggshell  tea  service 
made  for  Europe.  1 1  is  really  an  early  Ch'ien-lung  piece. 
Ch'ien-lung  (i  736-1 795).  Height  4X  inches. 

128 


OF    CHINESE    PORCELAINS         [CASE    XXVI 

701,  702.  TWO  GLOBULAR  TEA-POTS  with  lion 
handles  and  spouts.  Borders  and  ground  of  floral  and 
geometrical  design,  with  four  circular  floral  medallions 
with  pierced  centres;  the  handles  and  spouts  modelled 
as  lions;  on  the  lids  a  bird;  the  whole  in  vivid  rose,  yel- 
low, blue,  and  green. 
Ch'ien-lung  (i 736-1 795).  Height  5  inches. 

703.    GLOBULAR   BOWL  with  lion   handles  and 
cover.     Decoration  similar  to  No.  700. 
Ch'ien-lung  (1736- 1795).  Height  3>^  inches. 

704  to  707.  TEA-SET:  tea-pot,  ewer,  plate,  cup 
and  saucer.  Each  piece  shows  a  trumpeter  and  a  horn 
blower  in  green  and  yellow  on  a  ground  of  black  en- 
amel decorated  in  gold.  I ndo- Persian  subjects  from 
European  model. 
Ch'ien-lung  (1736-1795). 

Height  of  tea-pot  4|^  inches. 

708,  709.  TWO  PEAR-SHAPED  TEA-POTS.  The 
female  divinity  who  forms  the  chief  decoration  of  this 
little  pair  of  wine  ewers  and  carries  on  her  shoulder  a 
basket  of  flowers  suspended  in  the  handle  of  a  hoe, 
is  Hua-hsien,  the  so-called  Taoist  goddess  of  flowers. 
Ch'ien-lung  (1736-1795).  Height  6J4  inches. 

71010713.    FOUR  FLUTED  WINE-CUPS.       Mi- 
nute floral  decoration  on  yellow  and  frog-spawn  ground; 
ochre-yellow  interiors. 
K'ang-hsi*(i662-i722).  Height  iX  inches. 

714,715.   TWO  MINIATURE  CUPS  and  saucers. 
Red  and  green  lotus  and  foliated  borders  enclosing 
sprays  of  flowers  in  delicate  enamels. 
K'ang-hsi  (1662- 1722). 

Cups:  Height  iX  inches. 
Saucers:  Diameter  3 X  inches. 

129 


CASE    XXVl]        THE    MORGAN    COLLECTION 

716.  DOUBLE-HANDLED  CUP  AND  SAUCER 
with  foliated  edge.  Floral  and  geometric  decoration 
in  rose  and  green  on  yellow. 

K'ang-hsi  (1662- 1722). 

Cup:  Height  i>^  inches. 
Saucer:  Diameter  4^  inches. 

717.  OVAL  WINE-CUP.  Green  and  rose-tinted 
horses  on  a  yellow  ground. 

K'ang-hsi  (1662-1722).  Height  iX  inches. 

718.  QUADRILATERAL  FLUTED  WINE-CUP. 
Landscape  and  flowers  in  green  and  rose  on  yellow; 
ochre-yellow  interior. 

K'ang-hsi  (1662-1722).  Height  iX  inches. 

719.  720.  TWO  WINE-CUPS  formed  as  shoes. 
White  and  yellow  lotus  with  black  leaves  on  a  rose 
ground. 

K'ang-hsi  (1662-1722).  Length  3>^  inches. 

721.  OVAL  WINE-CUP.  Emblems  on  a  yellow 
ground;  ochre-yellow  interior. 

K'ang-hsi  (1662-1722).  Height   \%  inches. 

722.  LOTUS-LEAF  BRUSH-WASHER.  Dark- 
green  glaze;  inside  stands  a  bearded  figure  in  yellow 
robe. 

K'ang-hsi  (1662-1722).  Height  2^  inches. 

(plate  xxxii) 

723.  BRUSH-WASHER  in  the  shape  of  half  a 
peach.  On  the  outside  a  dove  and  leaves  in  relief;  in- 
side stands  a  duck. 

K'ang-hsi  (1662-1722).  Height  2%  inches. 

130 


OF    CHINESE    PORCELAINS         [CASE    XXVI 

724.    LOTUS-LEAF  WATER-DROPPER.     Deep- 
green  glaze,  with  two  yellow  fish  inside  in  relief. 
K'ang-hsi  (1662-1722).  Height  2yi  inches. 

(plate  xxxii) 

725,726.    TOOTHPICK   HOLDERS,   modelled   as 
squirrels.     Invested  with  a  rose  glaze,  with  grapes  and 
green  leaves  on  the  side. 
K'ang-hsi  (1662- 1722).  Length  y/i  inches. 

727.  PENTAGONAL  WINE-CUP  with  fluted  cor- 
ners. Flying  cranes  on  a  yellow  ground;  ochre-yellow 
interior. 

K'ang-hsi  (1662- 1722).  Height  \}i  inches. 

728.  FLOWER-SHAPED  WINE-CUP.  White  and 
yellow  fish  and  green  waves  on  a  rose  ground;  interior 
ochre-yellow. 

K'ang-hsi  (i 662-1 722).  Height  1%  inches. 

729.  OVAL  FOLIATED  WINE-CUP.  The  eight 
mystical  trigrams  in  yellow  on  a  speckled  ground;  ochre- 
yellow  interior. 

K'ang-hsi  (1662-1722).  Height  iX  inches. 

730.  FLUTED  WINE-CUP.    Floral  decoration  on 
pale  rose  and  yellow;  ochre-yellow  interior. 
K'ang-hsi  (1662- 1722).  Height  iX  inches. 


CASE  XXVII 

731.   QUADRILATERAL   BLACK   HAWTHORN 

VASE.     White  prunus  and  leafless  bamboo  growing 
from  green  and  rose-colored  rocks;  in  the  branches  and 
flying  above  are  yellow  finches. 
K'ang-hsi  (i  662-1 722).  Height  22  inches. 

131 


CASE    XXVIl]      THE   MORGAN   COLLECTION 

732.  CYLINDRICAL  VASE  with  metallic  lip.  With 
a  bold  design  of  yellow  and  rose  lotus,  with  deep-green 
scroll  leaves  reserved  in  the  black  enamel  ground;  at 
base  a  border  of  rose  and  yellow  petals,  and  dark-green 
sweet-flag  leaves  with  rose  stems  on  the  neck. 
K'ang-hsi  (1662-1722).  Height  22  inches. 

733.  QUADRILATERAL  BLACK  HAWTHORN 
VASE.  Decorated  with  the  flowers  of  the  four  seasons 
in  reserve  on  black  enamel. 

K'ang-hsi  (1662-1722).  Height  20^^  inches. 

734.  OVOID  VASE  on  ebony  stand.  Sang-de-bceuf. 
K'ang-hsi  (1662-1722).  Height   15   inches. 

735.  OVOID  VASE  with  wide  neck.  Sang-de-boeuf. 
K'ang-hsi  (1662- 1722).  Height  17  inches. 

736.  GLOBULAR  BOTTLE  with  long,  straight 
neck.     Sang-de-bceuf. 

K'ang-hsi  (1662-1722).  Height  15X  inches. 

737.  INVERTED    PEAR-SHAPED    VASE    with 
short  neck,  spreading  lip  and  base.     Sang-de-bceuf. 
K'ang-hsi  (1662-1722).  Height  16^  inches. 

738.  PORCELAIN  PIPE.  Reticulated  and  floral 
ornament  and  golden  rim. 

K'ang-hsi  (1662-1722).  Length  8  inches. 

739.  STAND,  for  scrolls  or  brushes.  The  top  shows 
a  group  of  precious  emblems  in  red  and  green  on  an 
ochre-yellow  ground,  with  a  yellow  and  green  trellis 
border  interrupted  by  white  panels  with  floral  scrolls. 
Below  is  green  scroll  lotus  with  white  rose  flowers  on  a 
yellow  ground. 

K'ang-hsi  (1662- 1722). 

Height  23^  inches.     Length  I3>i  inches. 
(plate  xli) 

132 


OF    CHINESE    PORCELAINS        [CASE    XXVII 

740.  QUADRUPLE  CIRCULAR  LUNCH  RECEP- 
TACLE. Covered  with  green  trellis-work  on  a  yellow 
ground,  interrupted  by  circular  medallions  with  green 
and  rose  phoenixes  alternating  with  ju-i  heads  on  the 
top  section,  and  with  nebulae  on  the  others. 

Mark:  Ta  Ming  Ch'eng-hua-nien  chih    (Made  in   the 
reign  of  Cheng-hua  of  the  great  Ming  dynasty).   [1465- 
1487 — apocryphal.] 
K'ang-hsi  (1662-1722).  Height  8  inches. 

741.  COVERED  POT  with  lion  top  and  handles. 
The  eight  Immortals,  modelled  in  high  relief,  surround 
the  body,  tinted  with  rose,  green,  and  yellow  on  a 
streaked  ground  of  the  same  colors.  The  rims  of  the 
cover  and  bowl  and  the  base  are  green  with  incised 
scroll-work.  On  top  is  a  lion  with  his  chu  seated  in  a 
tiger-blotched  circle. 

K'ang-hsi  (1662- 1722).  Height  4  inches. 

(plate   xl) 

742.  PI-T'UNG,  brush  receptacle.  Finely  modelled 
as  the  "three  friends," — bamboo,  prunus,  and  pine, — 
the  deep  green  bamboo  supporting  the  aubergine  stems 
of  pine  and  prunus,  and  the  white  blossoms  of  the  latter. 
K'ang-hsi  (1662- 1722).  Height  5X  inches. 

743.  CIRCULAR  TRIPOD  STAND.  On  top  are 
red,  yellow,  and  blue  chrysanthemums,  and  pine,  spring- 
ing from  a  blue-green  rock  on  a  deep-green  ground,  with 
insects  hovering  above.  The  feet  are  capped  by  tiger- 
heads. 

K'ang-hsi  (1662- 1722). 

Height  2^  inches.     Diameter  6K  inches. 

744.  GLOBE,  for  fragrant  flowers,  on  stand  with 
truncated  legs.  Yellow  pierced  hexagon-work  inter- 
rupted by  four  circular  medallions  enclosing  the  flowers 

«33 


CASE    XXVIl]       THE    MORGAN    COLLECTION 

of  the  four  seasons  in  green  and  rose  on  pierced  yellow 
wave-pattern.    The  hole  at  top  centres  in  a  rose  chry- 
santhemum flower  on  green.    The  stand  is  covered  with 
fine  diaper  in  green  and  rose. 
K'ang-hsi  (1662- 1722). 

Height  6}4  inches.     Diameter  4  inches. 
(plate  XL) 

745.  SQUARE  STAND  with  truncated  legs.  The 
top  has  green  and  yellow  trellis-work  round  a  circular 
medallion  enclosing  a  rose-colored  four-clawed  dragon 
contending  with  another  of  dark  green  for  a  rose-col- 
ored ball  of  fire  amid  green  nebulae  over  rocks  and  the 
sea,  on  a  dull-yellow  ground.  The  legs  are  rose  with 
black  undulous  pattern. 
K'ang-hsi  (1662- 1722). 

Height  3K  inches.     Width  6^  inches. 


CASE  XXVHI 

749.  QUADRILATERAL   BLACK    HAWTHORN 
VASE  with  short  neck  and  spreading  lip  of  metal. 
Each  side  showing  one  of  the  flowers  of  the  four  seasons, 
with  rocks,  birds,  and  insects  on  black  enamel. 
K'ang-hsi  (i 662-1 722).  Height   19  inches. 

750.  BLACK  HAWTHORN  BEAKER  VASE. 
Showing  orange  yellow  and  white  prunus,  and  white 
magnolia,  with  pale  and  deep  green  leaves  springing 
from  red  and  green  rocks  in  reserve  on  a  ground  of 
black  enamel. 

K'ang-hsi  (1662-1722).  Height  27K  inches. 

751.  QUADRILATERAL  BLACK  HAWTHORN 
VASE.     Showing  the  flowers  of  the  four  seasons  in  low- 

•34 


OF   CHINESE    PORCELAINS     [CASE    XXVIII 

toned  colors  on  black  enameI,enclosed  in  white-bordered 
panels. 

Mark:  Ta  Ming  Ching-hua  nien  chih  (Made  in  the 
reign  of  Ch'eng-hua  of  the  great  Ming  dynasty).  [1465- 
1487 — apocryphal.] 

K'ang-hsi  (1662- 1722).  Height  i^yi  inches. 

(plate  lvii) 

752.  BOTTLE-SHAPED  VASE,  with  a  wide,  cylin- 
drical heck.     Sang-de-boeuf  glaze. 

K'ang-hsi  (1662- 1722).  Height  17K  inches. 

753.  OVOID  VASE.    Sang-de-boeuf  g\2ize. 
K'ang-hsi  (1662-1722).  Height  17X  inches. 

754.  755.  TWO  BOWLS.  White  porcelain,  com- 
pletely covered  outside  with  decoration  of  conventional 
flowers  with  scroll  stalks  and  leaves  in  deep  green  under 
black. 

Mark:  Seal  of  Ch'ien-lung  in  blue. 
Ch'ien-lung  (1736-1795). 

Height  3X  inches.     Diameter  6^  inches. 

756.  BLACK  HAWTHORN  BEAKER  VASE  with 
trumpet  mouth.  Showing  a  pheasant  in  plumage  of 
green,  red,  and  yellow,  questing  on  top  of  an  arch  of 
green,  red,  and  purple  rocks,  from  which  spring  yellow, 
red,  white,  and  purple  peonies  with  variegated  green 
leaves,  and  white  magnolia  with  purple  buds,  branching 
upward  over  the  neck,  where  red,  white,  yellow,  and 
purple  prunus  flowers  and  yellow  and  green  finches  are 
also  seen. 

K'ang-hsi  (1662-1722).  Height  27X  inches. 

(plate  xlvii) 

757.  HEXAGONAL  DISH,  one  of  a  drageoir.  A 
yellow  four-clawed  dragon  reaching  for  a  pearl  among 

135 


CASE    XXVIIl]     THE    MORGAN    COLLECTION 

red  and  yellow  fire-emblems;  on  sides  red,  yellow,  and 

green  nebulae. 

K'ang-hsi  (1662-1722).  Diameter  4>^  inches. 

758.  SQUARE  BOX.  On  the  top  is  a  green,  red, 
and  yellow  pheasant  on  a  green  and  red  rock,  with  red 
and  yellow  peonies  behind  it,  enclosed  in  a  border  of 
black  rice-pattern  on  yellow;  the  edge  of  lid  has  a  black 
scroll  border  on  rose;  the  sides  are  covered  with  black 
star-work  and  flowered  hexagon  on  yellow,  with  foliated 
reserves  showing  the  flowers  of  the  four  seasons. 
K'ang-hsi  (1662-1722). 

Height  2  inches.     Width  4  inches. 

759.  TRIPOD  STAND  with  trefoil-shaped  top. 
The  top  is  covered  with  black  star-pattern  on  green,  on 
which  a  vase  containing  three  peacock  feathers  and  a 
branch  of  aubergine  coral,  another  with  aubergine  lotus, 
and  a  third  with  a  branch  of  yellow  and  aubergine 
peaches,  together  with  other  precious  objects  are  ar- 
ranged. The  legs  show  green  and  yellow-flowered 
lozenge-work  with  three  inverted  green  ju-i  heads. 
K'ang-hsi  (1662-1722). 

Height  4^  inches.     Length  8^  inches. 
(plate  xli) 

760.  STAND,  for  scrolls  or  brushes.  The  top  is 
grounded  with  green  cracked-ice,  with  a  central  foliated 
reserve  showing  a  landscape  in  rose  and  varying  shades 
of  green,  flanked  by  two  reserves  with  rose-colored 
water  dragons  and  ling-chih  on  a  yellow  ground.  The 
ebony  stand  is  finely  carved  as  bamboo,  prunus,  and 
pine, — "the  three  friends," — with  key-pattern  borders. 
K'ang-hsi  (1662-1722). 

Height   6^2    inches.     Length    14   inches. 
(plate  xli) 

136 


OF   CHINESE    PORCELAINS     [CASE    XXVIII 

761.  TOOTHPICK  HOLDER,  shaped  as  a  squirrel. 
Invested  with  black  enamel,  with  yellow  and  rose 
grapes  and  a  green  leaf  at  side. 

K'ang-hsi  (1662- 1722).  Length  3  inches. 

762.  TRIPOD  STAND  with  trefoil-shaped  top. 
The  top  covered  with  a  flowered  lozenge-pattern  in 
black  and  green  on  yellow,  on  which  precious  emblems 
are  arranged  enclosed  by  a  border  of  starred  hexagon  in 
green  on  yellow.  Round  the  lower  edge  a  wavy  pattern 
on  red  interrupted  by  a  green  ju-i  head  and  nine  yellow 
medallions  with  archaic  forms  of  the  character  Shou. 
K'ang-hsi  (1662- 1722). 

Height  4^  inches.     Length  8}4  inches. 
(plate  xli) 

763.  WATER-BOTTLE.  Decorated  with  two  phoe- 
nixes and  peonies  in  deep,  dull  green  under  a  black 
ground. 

Ch'ien-lung  (1736-1795).  Height  12  inches. 


CASE  XXIX 

764,  765.    TWO  BLACK  HAWTHORN  BEAKER 
VASES.     Decorated    with    red,    white,    and    yellow 
peonies,  magnolias,  and  hydrangeas,  with  leaves  of 
varying  green  on  a  ground  of  black  enamel. 
K'ang-hsi  (1662- 1722).  Height  26K  inches. 

766.  BLACK  HAWTHORN  OVOID  JAR  with 
bell-shaped  cover.  With  elaborate  decoration  of  white 
magnolia,  hydrangea,  and  yellow  peony  with  bright 
green  leaves  on  a  black  enamel  ground. 

K'ang-hsi  (1662-1722).  Height  26  inches. 

767.  HEXAGONAL  BLACK  HAWTHORN  BOWL 

137 


CASE    XXVIIl]     THE   MORGAN   COLLECTION 

with  waved  edge,  on  carved  ebony  stand.  Each  panel 
showing  flowers  of  the  four  seasons  springing  from 
rocks  in  low-toned  colors  on  a  black  ground.  Inside 
the  rim  is  a  trellis  border  in  green  and  red,  with  six 
black  reserves  enclosing  flowers. 
Mark:  A  seal  in  double  ring. 

Height  3^  inches.        Diameter  7^  inches. 
K'ang-hsi  (i  662-1 722). 

768,  769.    TWO  CUPS.     Four  panels,  with  foliated 
tops,  enclose  white  chrysanthemum,  hydrangea,  and 
other  flowers,  with  deep  green  leaves,  in  reserve  on 
black;  a  red  curl-border  inside  rim. 
K'ang-hsi  (i 662-1 722).  Height  5X  inches. 

770.  BLACK  HAWTHORN  BEAKER  VASE  on 
carved  ebony  stand.  Decorated  with  a  white  prunus- 
tree  springing  from  light  green  and  rose-colored  rocks, 
near  which  finches  and  deep  green  bamboo  leaves  are 
seen;  a  collar  of  black  scroll  design  on  pale  green  en- 
circles the  base  of  the  neck,  which  is  decorated  like  the 
body. 

K'ang-hsi  (i  662-1 722).  Height  22^  inches. 

(plate  xlix) 

771.  QUADRILATERAL  VASE  with  pyramidal 
base.  On  the  sides  are  hydrangeas,  peonies,  and  lotus 
with  birds  flying  above,  in  rose  and  green  on  an  imperial 
yellow  ground;  on  the  base  are  foliated  medallions  on  a 
rose-trellis  ground,  enclosing  sprays  of  flowers. 
K'ang-hsi  (i  662-1 722).  Height  21  inches. 

(plate  lviii) 

772.  LEAF-SHAPED  PLAQUE.  Showing  a  yel- 
low four-clawed  dragon  contending  for  a  green  ball 
with  a  rose-colored  one,  whose  tail  twines  round  the 
black  centre  of  the  leaf.     Around  them  swim  three 

.38 


OF    CHINESE    PORCELAINS        [CASE    XXIX 

carp,  one  red,  one  bright  green,  and  one  rose-colored, 
on  a  deep  green  sea,  which  is  sprinkled  with  yellow- 
centred  white  plum  flowers,  and  partly  fringed  with 
foam.  The  piece  is  bordered  with  semi-blossoms  of 
white  prunus  on  black. 
K'ang-hsi  (1662-1722).  Length  loX  inches. 

773.  FOLIATED  PLAQUE.  White  porcelain, 
showing  a  phoenix  standing  on  rocks  surrounded  by 
peonies  and  magnolias,  above  which  insects  hover,  the 
whole  in  low-toned  shades  of  green  and  red.  A  border 
of  yellow  frog-spawn,  with  green  flowers,  surrounds  the 
piece. 

K'ang-hsi  (i  662-1 722).  Length  loK  inches. 

774.  A  BLACK  HORSE.  With  green  and  yellow 
saddle  and  white  harness. 

K'ang-hsi  (1662- 1722). 

Height  4X  inches.     Length  6  inches. 

775.  OCTAGONAL  CUP.  White  porcelain;  the 
outside  has  four  panels  showing  flowers  and  shrubs  in 
blue,  green,  and  white  on  a  black  ground;  inside  the  rim 
a  red  lozenge  border  with  sprays  of  red  and  green 
flowers  below. 

K'ang-hsi  (1662- 1722). 

Height  2^  inches.     Diameter  3  inches. 

776.  BOTTLE  with  long,  straight  neck.  The  body 
decorated  with  sprays  of  flowers  and  large  butterflies  in 
bright  enamel  colors  on  black;  on  shoulder  a  band  of 
black  star-work  on  green  with  four  ornamental  reserves 
in  blue,  yellow,  and  green;  the  neck  is  black  with  a 
purple-blue  water  dragon  and  scrolls. 

K'ang-hsi  (i  662-1 722).  Height  7^  inches. 

777.  WRITER'S  WATER-WELL.    In  the  form  of 

139 


CASE  XXIX]         THE    MORGAN    COLLECTION 

Li  T'ai-po,  the  most  famous  Chinese  poet  for  erratic 
genius,  romantic  career,  power  of  verse,  and  bibulosity, 
says  Dr.  Bushell.  He  is  here  seen  cHnging  to  his  empty 
wine-jar. 

K'ang-hsi  (1662-1722).  Length  6^4  inches. 

(plate  xlii,  centre) 

778.  OVIFORM  BOTTLE  with  short  neck  and 
spreading  Hp.  Decorated  with  leafless  white  prunus, 
with  aubergine  branches  drooping  downward  from  the 
neck  on  a  ground  of  black  enamel. 

K'ang-hsi  (1662-1722).  Height  7X  inches. 

779.  CUP  on  carved  ebony  stand.  White  porcelain, 
decorated  outside  with  sprays  of  flowers  in  low-toned 
colors  on  black  enamel.  Inside  are  yellow  flowers  with 
green  leaves. 

K'ang-hsi  (1662- 1722). 

Height  2%  inches.     Diameter  3^  inches. 

780.  CYLINDRICAL  BOTTLE  with  short  neck  and 
spreading  lip.  Decorated  with  two  five-clawed  dragons 
contending  for  a  ball  among  nebulae,  the  whole  in 
sea-green  on  black  enamel. 

Ch'ien-lung  (1736-1795).  Height  5X  inches. 

CASE  XXX 

781.  782.  TWO  QUADRILATERAL  BLACK  HAW- 
THORN VASES.  Decorated  with  flowering  shrubs, 
plants,  and  yellow  finches  in  enamel  colors  on  a  black 
ground. 

Mark:  A  blue  leaf. 

K'ang-hsi  (1662-1722).  Height  19X  inches. 

783.  BLACK  HAWTHORN  BEAKER  VASE. 
Showing  two  phoenixes  with  plumage  of  yellow,  pur- 

140 


OF    CHINESE    PORCELAINS         [CASE    XXX 

pie,  and  green,  on  green  rocks  from  which  spring  yellow, 
white,  and  rose  peonies  and  white  magnolias  with  deep 
green  leaves;  flying  above  are  yellow  fmches  with  green 
wings.  A  collar  of  white  plum  flowers  on  a  ground  of 
green-flowered  lozenge  encircles  the  base  of  the  neck, 
which  shows  yellow  and  rose-colored  chrysanthemums 
and  asters,  growing  by  a  pale  sea-green  rock  of  fan- 
tastic shape. 

Mark:  Ta  Ming  Ch'eng-hua  nien  chih  (Made  in  the 
reign  of  Ch'eng-hua  of  the  great  Ming  dynasty).  [1465- 
1487 — apocryphal.] 

K'ang-hsi  (1662- 1722).  Height  26^  inches. 

(plate  li) 

784,  785.  TWO  BLACK  HAWTHORN  BEAKER 
VASES.  With  leafless,  rosy-limbed,  white  prunus- 
trees  spreading  upward  to  the  mouth;  below  are  red 
and  green  rocks.  On  No.  784,  a  flock  of  yellow  fmches 
is  seen  among  the  branches;  the  whole  in  reserve  on  a 
lustrous  black  ground. 

Mark   on    No.    785:  Ta   Ming   Ch'eng-hua   nien   chih 
(Made  in  the  reign  of  Ch'eng-hua  of  the  great  Ming 
dynasty) .     [  1 465-1 487 — apocryphal.] 
K'ang-hsi  (1662-1722).  Height  26K  inches. 

(plate  L.     NO.  784.)       (plate  Lll.     NO.  785.) 

786.    QUADRILATERAL   BLACK   HAWTHORN 
VASE,    tapering   on    ebony    stand.     Decorated    with 
white-blossomed  hydrangea,  magnolia,  and  plum,  with 
aubergine  limbs,  springing  from  red  and  green  rocks; 
above  are  small  red  and  green  birds  and  insects,  in 
reserve  on  black.     On  the  neck  are  four  upright  foliated 
red-bordered  ovals,  with  sprays  of  flowers  on  black. 
Mark:  Ta  Ming  Ch'eng-hua  nien  chih   (Made  in  the 
reign  of  Ch'eng-hua  of  the  great  Ming  dynasty). 
[  1 465-1 487 — apocryphal.] 
K'ang-hsi  (1662-1722).  Height  18^  inches. 

141 


CASE    XXX]  THE    MORGAN    COLLECTION 

787.  OVOID  VASE  on  ebony  stand.  White  por- 
celain, entirely  covered  by  a  design  of  floral  scroll- 
work in  green  on  black. 

Mark:  Seal  of  Ch'ien-lung  in  vermilion. 

Ch'ien-lung  (i 736-1 795).  Height  6K  inches. 

788.  WRITER'S  SCREEN  in  elaborately  carved 
ebony  stand.  White  porcelain,  decorated  with  white 
prunus  growing  by  a  green  rock,  in  reserve  on  a  black 
ground,  enclosed  by  a  green  and  yellow  trellis  border 
with  black  corners,  interrupted  by  four  black  reserves 
enclosing  flowers  and  fruit. 

K'ang-hsi  (1662- 1722). 

Length  8}{  inches.     Width  5  inches. 
(plate  xxxiii) 

789.  INVERTED  PEAR-SHAPED  BOTTLE  on 
ebony  stand.  Entirely  covered  with  a  scroll  decora- 
tion of  conventional  flowers  and  leaves  surmounting  a 
cartouche  border  at  the  base,  in  green  on  a  black 
ground. 

Ch'ien-lung  (i  736-1 795).  Height  6^  inches. 

790.  CUP.  With  four  panels  enclosing  flowers  and 
shrubs  in  red,  green,  yellow,  and  white  on  a  black 
ground;  the  lip  has  an  inner  border  of  red  scroll-work. 
Mark:  A  lozenge  with  ribbon. 

K'ang-hsi  (1662- 1722). 

Height  3  inches.     Diameter  2>^  inches. 
(plate  XL,  centre) 

790  A.  QUADRILATERAL  BLACK  HAWTHORN 
VASE,  with  short  neck  and  spreading  lip,  on  a  carved 
ebony  stand.  Showing  yellow  and  rose  chrysanthe- 
mums and  peonies,  and  white  prunus  and  lotus,  with 
clear  green  leaves,  growing  from  green  and  rosy  rocks, 

142 


OF  CHINESE  PORCELAINS     [CASE  XXX 

with  yellow  birds  and  insects  above.    On  the  neck  are 
rose  and  yellow  lotus,  and  a  white  flying  crane. 
Mark:  Ta  Ming  Ch'eng-hua  nien  chih   (Made  in  the 
reign  of  Ch'eng-hua  of  the  great  Ming  dynasty).  [1465- 
1 487 — apocryphal.] 
K'ang-hsi  (1662- 1722).  Height  ig^  inches. 


CASE  XXXI 

791,792.  TWO  BLACK  HAWTHORN  BALUS- 
TER VASES.  Each  decorated  with  purple,  yellow, 
red  and  green  rocks,  from  which  grow  white  and  yellow 
prunus-trees,  among  whose  branches  are  yellow- 
breasted,  blue-winged  finches;  all  in  reserve  on  black 
enamel;  inside  the  lip  is  a  black  key-pattern  border 
on  dull  green. 
K'ang-hsi  (1662-1722).  Height  18  inches. 

793.  BLACK  HAWTHORN  CYLINDRICAL  VASE. 
Decorated  with  white  peony,  magnolia,  hydrangea, 
and  red  and  yellow  chrysanthemums  springing  from 
behind  green  and  rose-colored  rocks;  all  in  reserve  on 
black. 

K'ang-hsi  (1662-1722).  Height  24  inches. 

794.  LARGE  PILGRIM  BOTTLE.  Decorated  with 
a  deep  green,  five-clawed  dragon  on  an  orange-yellow 
ground,  among  nebulae  above  the  sea. 

Ch'ien-lung  (1736-1795).  Height  18  inches. 

795.  BLACK  HAWTHORN  BEAKER.  White 
yellow-eyed  prunus,  red  peach  in  flower  and  fruit,  and 
red  peony  growing  from  rocks. 

K'ang-hsi  (1662-1722).  Height  17K  inches. 

796,797.    TWO  QUADRILATERAL  VASES  with 

143 


CASE    XXXl]        THE   MORGAN    COLLECTION 

pyramidal  bases  and  dragon  handles.  Showing  the 
flowers  of  the  four  seasons  in  subdued  colors  on  a  pale 
yellow  ground;  on  the  bases  foliated  lozenge  reserves 
on  black  diaper  enclosing  flowers  and  insects  on  one 
and  water  dragons  on  the  other. 
K'ang-hsi  (1662-1722).  Height  21^  inches. 

(plate  lxv) 

798.  QUADRI  LATERAL  VASE  with  convex  shoul- 
ders and  short  neck,  with  gold  rim  and  base.  The 
body  of  the  vase  is  covered  with  black  speckle-work  on 
a  green  enamel  ground  sprinkled  with  bright  red 
prunus  blossoms,  and  edged  with  a  rose-colored  line. 
On  two  sides,  at  the  base,  are  upright  quadrilateral 
panels  in  white  reserve,  with  double-line  borders  of  pink 
and  orange  red,  showing,  in  bright  colors,  a  man  in  a 
boat,  near  a  rocky  shore  with  a  house  and  trees.  Above 
this,  surrounded  by  a  line  border  of  pale  orange-yellow 
interrupted  by  four  blue  ju-i  heads,  is  a  circular  panel 
of  mirror-black  with  figure  in  gold  of  Chung-Li-Ch'uan, 
one  of  the  eight  Immortals.  Above  all,  two  pale 
orange  three-clawed  dragons,  their  blue  heads  down- 
ward, their  branching  scroll-work  tails  above  arranged 
to  form  a  pattern,  are  contending  for  a  red  ball;  on  the 
other  two  sides  the  central  panels  are  rectangular,  with 
pictures  of  mythical  worthies  in  gold  on  black. 
K'ang-hsi  (1662- 1722).  Height  18X  inches. 

799.  SAUCER.  White  porcelain,  the  rim  pierced 
in  the  form  of  interlaced  rings  of  various  colors;  in  the 
centre  are  two  ladies  in  a  garden. 

Ch'ien-lung  (1736-1795).  Diameter 8^  inches. 

800.  PLATE.  White  porcelain;  in  the  centre  a 
four-clawed  yellow  dragon  on  a  light  sea-green  ground 
surrounded  by  red  and  rose-colored  nebulae;  the  rim 

144 


OF    CHINESE    PORCELAINS         [CASE    XXXI 

shows  a  dark  green  sea,  with  six  white  foam-crests  al- 
ternating with  red  prunus  flowers. 
Mark:  Ta  Ming  Ch'eng-hua  nien  chih   (Made  in  the 
reign    of    Ch'^ng-hua    of  the    great    Ming   dynasty). 
[1465- 1 487 — apocryphal.] 
K'ang-hsi  (1662-1722).  Diameter  8>^  inches. 

801.  BOWL  on  five-footed  ebony  stand.  Dark 
green,  with  flowers  in  white  reserve  on  the  outside;  in 
the  bottom  a  rose-tinted  ling-chih. 

K'ang-hsi  (1662-1722).  Diameter 8>^  inches. 

802.  STANDING  FIGURE.  In  occidental  black 
jacket,  yellow  breeches,  and  black  riding  boots.  (Dutch 
admiral.) 

K'ang-hsi  (1662-1722).  Height  iiX  inches. 

803.  JAR  with  ebony  cover  and  stand.  Decorated 
with  conventional  flowers  with  scroll  stems  and  leaves 
in  light,  dull  green  on  a  pale  yellow  ground;  above  is  a 
red  border  with  white  flowers. 

K'ang-hsi  (i 662-1 722).  Height  9>^  inches. 

CASE  XXXII 

804.  GREEN  HAWTHORN  BEAKER.  Decorated 
on  a  brilliant  green  ground  with  profuse  and  bold 
drawing  of  white  magnolia  and  red  and  yellow  peonies 
springing  from  behind  purple  rocks  whereon  stands  a 
pheasant  in  red,  green,  and  yellow  plumage. 

Mark:  Ta  Ming  Ch'eng-hua  nien  chih  (Made  in  the 
reignof  Ch'eng-hua  of  the  great  Ming  dynasty).  [1465- 
1 487 — apocryphal.] 

K'ang-hsi  (1662-1722).  Height  28  inches. 

(plate  LXVl) 

805.  CYLINDRICAL 'VASE,     club-shaped,     with 

145 


CASE    XXXIl]      THE    MORGAN    COLLECTION 

short  neck.  Round  the  base  and  lip  are  triangle  bor- 
ders in  black  on  rich  green.  On  the  shoulder  is  a  border 
in  pink,  green,  and  yellow.  Decorated  with  pictur- 
esque rocky  scenery  in  accordance  with  the  canons  of 
Chinese  landscape  art.  Two  couples  of  the  usual  aged 
pilgrims  are  climbing  the  hills,  admiring  the  prospect, 
and  the  boats  are  seen  in  the  foreground  by  which  they 
have  been  brought  to  the  foot  of  the  mountains. 
K'ang-hsi  (1662-1722).  Height  i6>^  inches. 

806.  CLUB-SHAPED  VASE.     Intricate  floral  and 
other   decorations    with    white    reserves,    containing 
pastoral  scenes — a  man  sowing  and  a   man  and  ox 
harrowing.     Inscription  of  verses  in  each  reserve. 
Mark:    A  double  ring. 

K'ang-hsi  (1662-1722).  Height  18X  inches. 

807.  INVERTED  PEAR-SHAPED  VASE  with 
short  neck,  spreading  lip  and  base.  Aubergine  peony 
and  white  hydrangea  with  birds  on  a  dull  green  ground. 
K'ang-hsi  (1662-1722).  Height  i6>^  inches. 

808.  QUADRILATERAL  TAPERING  VASE  with 
rounded  shoulders  and  short  beaker  neck.  White  por- 
celain, covered  with  a  ground  of  irregular  crackle 
sprinkled  throughout  with  butterflies,  sprays  of  red 
prunus  and  leaves.  On  each  side  are  two  intaglio  me- 
dallions— the  upper  fan-shaped  with  landscapes  on  a 
yellow  ground,  the  lower  square  with  indented  corners, 
two  showing  rocks  and  flowers  on  a  yellow  ground,  and 
two  each  with  four-line  inscriptions  in  black  on  green. 
K'ang-hsi  (1662-1722).  Height  i8>^  inches. 

809.  GREEN  CLUB-SHAPED  VASE  on  a  carved 
ebony  stand.  An  effective  study  of  birds  and  flowers, 
filled  in  with  brilliant  enamel  colors  and  heightened  by 
a  soft  background  of  apple  green  tint.    The  six  charac- 

146 


OF    CHINESE    PORCELAINS       [CASE    XXXII 

ter  mark,  Ta  Ch'ing  Kang-hsi  nien  chih,  is  penciled 

underneath  in  underglaze  blue,  arranged  in  three  col- 
umns, two  characters  in  each. 

K'ang-hsi  (i  662-1 722).  Height   17  inches. 

810.  BEAKER  with  wide-spreading  mouth  and 
slightly  spreading  base.  A  noteworthy  example  of 
early  famille  verte  style,  effectively  decorated  in  three 
colors — green,  yellow  and  manganese  purple.  The 
decoration  is  arranged  in  three  tiers  of  panels  of  varied 
shape,  reserved  in  a  diapered  ground.  The  upper  tier 
presents  the  pictures  of  four  of  the  eight  Taoist  genii, 
crossing  the  waves  of  the  Cosmic  Sea;  the  rest  of  the 
group  would  doubtless  have  appeared  on  the  compan- 
ion vase.  The  middle  tier  consists  of  four  circular 
medallions  painted  with  mountain  landscapes.  The 
lower  tier  exhibits,  in  four  lozenge-shaped  panels, 
some  of  the  ordinary  avocations  of  the  cultured  scholar 
— a  wine  party  with  two  of  the  convivialists  playing 
a  game  of  mora,  a  musician  drinking  wine  with  his  lyre 
beside  him,  a  literary  discussion  in  a  pavilion,  and, 
finally,  a  well-dressed  scholar  on  his  knees,  worshipping 
the  image  of  Maitreya  Buddha,  the  Messiah  of  the  com- 
ing age  {Kalpa  in  Buddhist  parlance). 

K'ang-hsi  (1662- 1722).  Height   18  inches. 

811.  PORCELAIN  PILLOW.  Decorated  at  the 
ends,  which  are  pierced,  with  a  foliated  ornament  on 
green  ground. 

K'ang-hsi  (1662- 1722).  Length   14  inches. 

812.  BEAKER  with  oviform  body,  spreading  mouth 
and  slightly  spreading  base.    Covered  with  a  multi- 
tude of  black  and  white  cranes  with  red  crests  flying 
among  green  nebulae  on  a  brilliant  yellow  ground. 
K'ang-hsi  (1662- 1722).  Height  17X  inches. 

147 


CASE    XXXIII]     THE    MORGAN    COLLECTION 

CASE  XXXIII 

813.  LARGE  PLATE.  A  court  ceremonial  scene, 
with  many  figures  in  brilliant  enamel  colors  and  gold, 
covers  the  entire  surface;  on  the  back  four  pale  green 
rocks  divide  a  tumultuous  deep  green  sea  in  four  sec- 
tions, over  each  of  which  fly  two  cranes. 
Mark:  A  seal  in  double  ring. 
K'ang-hsi  (1662- 1722).  Diameter  20X  inches. 

814,815.  TWO  VASES,  tall,  flask-shaped,  with 
necks  spreading  slightly  at  rim,  and  straight  bases. 
White  dense  porcelain.  On  the  body  two  large  lions, 
resplendent  in  purple,  yellow,  and  green,  are  guarding 
two  brocaded  balls  decked  with  ribbons  against  two 
smaller  lions,  one  red,  the  other  green.  The  base  of 
the  neck  is  encircled  by  a  red  line  below  a  broad  border 
of  green  foliated  pattern  with  conventional  chrysan- 
themums, in  brilliant  red  and  blue.  The  rim  is  encir- 
cled by  a  rich  border  of  inverted  lotus  petals. 
K'ang-hsi  (i 662-1 722).  Height  21   inches. 

816,817.  TWO  TALL,  TRIPLE-GOURD  VASES 
with  tapering  necks  and  spreading  mouths.  Rich  and 
elaborate  decoration  throughout,  a  red  chrysanthemum 
and  diaper  ornament  completely  covering  the  middle 
ground  and  broad  palmations  of  intricate  design. 
K'ang-hsi  (i 662-1 722).  Height  28 >^  inches. 

818,  819.  TWO  LARGE  VASES  with  ovoid  bodies, 
cylindrical  bulbous  necks,  and  flaring  mouths.  Elabo- 
rate and  intricate  decoration  in  palmated  designs  on 
body,  repeated  on  the  neck  with  floral  and  arabesque 
ornament  in  the  white  spaces. 
K'ang-hsi  (1662- 1722).  Height  26>^  inches. 

148 


OF    CHINESE    PORCELAINS     [CASE    XXXIII 

820.  CYLINDRICAL  VASE,  club-shaped  with 
rounded  shoulders  and  short  neck,  on  a  carved  stand. 
Elaborately  decorated  with  rich  ground-work  of  blos- 
soms and  butterflies  in  brilliant  colors,  supporting 
eight  white  reserves,  round,  rectangular,  and  leaf- 
shaped  in  two  tiers,  enclosing  paintings  of  emblems, 
flowers,  and  birds. 

K'ang-hsi  (1662- 1722).  Height  18  inches. 

821.  CYLINDRICAL  VASE,  club-shaped,  with 
rounded  shoulders  and  short  neck,  on  a  carved  ebony 
stand  inlaid  with  silver.  Decorated  with  conventional 
flowers  in  blue,  red,  and  yellow  on  a  green  ground,  leav- 
ing four  diamond-shaped  foliated  reserves  round  the 
middle  of  the  vase,  the  halves  of  four  similar  reserves 
intervening  above  and  below,  showing  landscapes  and 
lions  in  the  centre  spaces,  and  rocks  and  flowers  in  the 
upper  and  lower.  On  the  shoulder  is  a  broad  border 
ornament,  on  green  and  buff  ground,  interrupted  by 
four  reserves  with  bright  blue  borders  showing  red  and 
green  leaves  radiating  from  ju-i  heads  in  blue  and  green. 
The  base  is  encircled  by  a  broad  cartouche  border  in 
pink  and  green,  surmounted  by  pink,  red,  green,  and 
yellow  scalloped  lines. 

Mark:  A  double  blue  ring. 

K'ang-hsi  (1662-1722).  Height  17^  inches. 

822  to  826.    GARNITURE  OF  FIVE  PIECES:  two 
cylinders,  two  ovoid  vases  with  covers,  and  tall  ovoid 
centre-piece.     Elaborate    decoration    in    five-colored 
enamels  in  southern  Mongol  style. 
K'ang-hsi  (1662-1722). 


CASE  XXXIV 

827.    LARGE    PLATE.    A    large   plate   decorated 

149 


CASE    XXXIV]     THE    MORGAN    COLLECTION 

with  a  finished  portrait  of  one  of  the  women  scholars 
of  China,  probably  Tan-Hui-Pan,  the  celebrated  poetess, 
framed  in  fret  bands  and  with  floral  borders  of  unus- 
ually rich  design.  The  artist  has  attached  his  seals  to 
the  picture,  pencilled  in  red,  with  a  gold  background, 
one  of  which,  Chu  Chii  (The  Bamboo  Retreat),  we  have 
met  with  before  as  a  studio  name. 
K'ang-hsi  (1662- 1722).  Diameter  i8>^  inches. 

828.  CYLINDRICAL  VASE  with  rounded  shoul- 
ders, short  neck,  rim,  and  sloping  base.  Decorated  with 
colors  of  the  famille  verie  relieved  by  the  rare  purple 
ground  of  pale  tone  derived  from  manganese. 

Mark:  A   large  double  ring  pencilled   in   underglaze 

blue. 

K'ang-hsi  (1662- 1722).  Height  \6^  inches. 

829,  830.  TWO  BEAKERS  with  bulbous  centres, 
trumpet  mouths,  and  slightly  spreading  bases.  A  fine 
pair  oi  famille  verte  beakers  in  which  the  figure  deco- 
ration, painted  in  brilliant  enamels,  is  relieved  by  a 
background  of  soft  yellow  tone.  The  decoration  is 
arranged  in  three  tiers.  Above  are  groups  of  scholars 
engaged  in  the  pursuit  of  the  "four  liberal  arts" — 
chess  and  music  on  one  vase,  calligraphy  and  painting 
on  the  other.  The  middle  tier  has  a  succession  of 
picturesque  mountain  landscapes  animated  by  the 
usual  "happy  meeting"  of  two  friends  to  admire  the 
scenery.  The  lower  tier  is  filled  with  bands  of  boys 
playing  a  variety  of  games — the  motive  known  in  Chin- 
ese art  as  wa  wa — (children). 

K'ang-hsi  (i  662-1 722).  Height  18  inches. 

83 1 .  CYLINDRICAL  VASE,  with  tiara-fronted  top, 
and  divided  transversely  by  moulded  double  lines  into 
three  sections,  the  upper  one  bearing  a  spout.     Used 

150 


OF   CHINESE    PORCELAINS       [CASE    XXXIV 

for  iced  fruit  syrups.     Splashed  with  yellow,  green  and 

purple. 

K'ang-hsi  (1662- 1722).  Height  i8>^  inches. 

832.  WATER-BOTTLE  with  broad  neck  and  slight- 
ly spreading  lip,  on  carved  ebony  stand.  Cafe-au-lait 
coarse  crackle.  On  the  body  are  two  four-clawed 
dragons,  one  red,  the  other  deep  green,  contending  for  a 
red  ball;  above  are  small  red  nebulae,  and  below  dark 
green  waves  white-capped  with  foam;  a  broad  border 
of  starred  hexagon  in  red  encircles  the  base  of  the  neck; 
above,  a  dark  green  four-clawed  dragon  curls  round  the 
neck,  showing  his  teeth.  Below  the  rim  is  a  red  dia- 
mond border;  and  on  the  bottom  two  dark  green  leaves. 
Ch'ien-lung  (i  736-1 795).  Height  15  inches. 

833  to  835.  THREE  CYLINDRICAL  VASES,  of 
same  shape  as  No.  831,  with  metallic  spouts.  On  the 
bodies  of  the  vases,  in  their  three  divisions,  are  the 
eight  horses  of  the  Emperor  Mu-Wang  careering  on  a 
ground  of  dark  green  wave-forms  on  which  purple 
blossoms  and  emblems  are  scattered;  the  ground- 
work is  encroached  upon  from  above  and  below  by 
waves  with  foaming  crests. 

K'ang-hsi  (1662-1722).  Height  15^  inches. 

(plate  lix) 

836  and  841.    TWO    HORSES.      One  purple  with 
green  and  yellow  harness.    The  other  yellow  with  green 
and  purple  harness. 
K'ang-hsi  (1662-1722).  Height  5  inches. 

837.    WINE-CUP.  Decorated  with  yellow  insects  and 
flowers,  with  green  leaves  on  a  ground  of  aubergine. 
Mark:   Chia-ching  nien  chih    (Made  in   the  reign    of 
Chia-ching).     [i  522-1 566 — apocryphal.] 
K'ang-hsi  (1662- 1722). 

Height  3K  inches.     Diameter  3X  inches. 

151 


CASE    XXXIV]     THE   MORGAN    COLLECTION 

838,  839.    TWO  LIONS.    Green,  yellow,  and  purple 
enamel. 
K'ang-hsi  (1662-1722).  Height  3^  inches. 

840.    HEXAGONAL  BOX  OR  CAGE  with  reticu- 
iated  sides  made  to  imprison  crickets  after  the  fash- 
ion of  game-cocks. 
K'ang-hsi  (1662- 1722). 

Height  3>^  inches.     Diameter  2>^  inches. 

842,  843.    TWO  LIONS,  statant.    White  porcelain. 
The  bodies  covered  with  bright  red  curl-work  inter- 
rupted by  broad,  green  scrolls,  on  which  are  grotesque 
lizards  in  pink  and  yellow, 
K'ang-hsi  (i  662-1 722).  Height  8^  inches. 

844.  STANDING  FIGURE.  In  a  green  robe  de- 
corated with  white  prunus  blossoms  arranged  in  groups, 
with  yellow  belt  and  black  hat,  upon  an  octagonal  slab, 
the  sides  of  which  are  decorated  with  red  lotus  blooms 
and  scrolls. 

K'ang-hsi  (i 662-1 722).  Height  9>^  inches. 

845.  OVIFORM  JAR.  White  porcelain,  boldly  de- 
corated with  conventional  chrysanthemums  in  brilliant 
blue,  red,  and  green,  with  scroll  stems  and  leaves  of 
dark  green. 

K'ang-hsi  (1662- 1722).  Height  9  inches. 

846.  A  GREEN  LION,  his  left  paw  on  a  yellow  and 
roseate  sphere.  On  his  back  he  carries  a  small  quadri- 
lateral, tapering  vase,  with  bevelled  shoulders  and  a 
collar  on  the  neck,  decorated  with  conventional  white 
prunus  blossoms  and  green  scrolls  on  a  black  back- 
ground. On  his  forehead,  the  mark  IVang — (King  of 
beasts). 

K'ang-hsi  (1662-1722).  Height  6^  inches. 

152 


OF    CHINESE    PORCELAINS        [CASE    XXXIV 

847.  SQUARE  CASKET  with  pyramidal  top.  White 
porcelain,  the  sides  decorated  with  flowered  rice-pat- 
tern in  black  on  a  green  enamelled  ground  interrupted 
by  white  scalloped-edged  lozenge-shaped  reserves;  on 
top  a  golden  lion. 

K'ang-hsi  (1662- 1722).  Height  4X  inches. 

848.  FLATTENED  BOWL,  fluted  and  scalloped. 
Chinese,  after  European  model.  Decoration  of  flowers 
and  leafage  in  transparent  enamels. 

K'ang-hsi  (1662-1722). 

Height  6  inches.     Length  8^  inches. 

849.  COVERED  OVAL  BOWL.  Of  white  porce- 
lain, elaborately  decorated  in  green  and  gold.  A  cu- 
rious bowl-shaped  receptacle  of  Buddhist  design  for 
chips  of  sandalwood,  supported  by  three  heads  emerg- 
ing from  the  waves  of  a  primeval  sea.  The  bowl  has 
the  eight  Buddhist  symbols  of  good  fortune  {pa  chi 
hsiang)  enclosed  in  the  meshes  of  its  floral  band  of  or- 
nament, and  the  cover  is  surmounted  with  a  knob 
shaped  like  the  effulgent  jewel  of  the  sacred  law. 
Ch'ien-lung  (i  736-1 795). 

Height  5 14'  inches.     Width  4X  inches. 

850,851.  TWO  HEXAGONAL  WINE-JUGS  with 
bevelled  shoulders,  necks,  rims,  and  covers.  White 
porcelain.  The  upper  panels  of  the  necks  decorated 
with  conventional  flowers  and  leaves  and  pierced  al- 
ternately with  two  and  four  holes.  The  lower  panel 
shows  sprays  of  flowers.  On  the  shoulders  a  border 
of  curved  triangle-work  in  red.  The  panels  on  the 
bodies  show,  alternately,  figures  of  ladies  and  vases 
of  flowers. 
K'ang-hsi  (1662- 1722).  Height  8^  inches. 

852.  INCENSE-BURNER  with  metal  mount. 
Peach-bloom  saucer. 

153 


CASE  XXXIV]        THE    MORGAN    COLLECTION 

Mark:  Ta   Ch'ing   Kang-hsi  nien  chih    (Made  in  the 
reign  of  K'ang-hsi  of  the  great  Ch'ing  dynasty). 
K'ang-hsi  (1662-1722).  Diameter  4^^  inches. 

853.  HEXAGONAL  STAND.  The  centre  pierced. 
On  each  side  an  imperial  dragon  in  yellow  on  a  ground 
of  black  curl-work  on  bluish-green,  on  which  em- 
blems are  scattered.  Each  side  is  pierced  in  the  shape 
of  a  ju-i  head. 

Ch'ien-lung  (i  736-1 795). 

Length  5^  inches.    Width  3^  inches. 

854.  SHRINE,  in  the  shape  of  a  peach.  Inside 
stands  Shou  Lao,  the  god  of  longevity,  a  boy  standing 
at  his  right.  The  outside  is  covered  with  objects  in 
relief  upon  a  richly  decorated  ground. 

K'ang-hsi  (1662-1722).  Height  6X  inches. 

855, 856.  TWO  SALT  CELLARS  on  octagonal 
bases.  Salt  cellars  of  antique  design  made  for  the 
European  market.  Elaborately  decorated  with  scarlet 
peonies  and  green  leaves,  the  interstices  being  filled 
in  with  blue  scroll-work  on  a  yellowish  ground. 
K'ang-hsi  (i 662-1 722). 

Length  3X  inches.     Width  2^  inches. 

857.  PORCELAIN  PILLOW.  On  top  two  phoe- 
nixes, disporting  among  red,  white,  blue,  green,  and 
yellow  peonies,  with  green  leaves  and  scroll-work.  At 
one  end  Shou,  and  at  the  other  Fu  are  pierced  in  circu- 
lar form. 

K'ang-hsi  (1662-1722). 

Height  2yi  inches.  Length  \2%  inches.  Width  4%  in. 

858.  PHCENIXor  F^w^-i[;Maw^. 

K'ang-hsi  (1662- 1722).  Height  4^^  inches. 

154 


OF    CHINESE    PORCELAINS         [CASE    XXXV 

CASE  XXXV 

859.  LARGE  PLATE.  A  large  circular  dish,  over 
twenty-two  inches  in  diameter,  richly  decorated  with 
polychrome  enamels  in  the  most  recherche  style  of  the 
K'ang-hsi  epoch,  and  marked  underneath  with  a  seal 
form  of  the  character  chih — "  by  imperial  order."  The 
theme  of  the  main  decoration  is  a  familiar  story  in 
Chinese  history,  which  relates  how  the  emperor  was 
so  intensely  interested  in  a  game  of  chess  {wei  ch'i) 
with  one  of  his  courtiers  that  he  refused  to  be  inter- 
rupted for  a  moment,  even  to  listen  to  the  report  of  a 
messenger  from  the  commander-in-chief  of  the  imperial 
armies  bringing  tidings  of  imminent  danger.  The 
scene  is  an  imperial  palace,  with  courtyards,  gardens 
and  terraced  pavilions.  Through  a  round  doorway 
on  the  left  the  emperor  is  seen  seated  at  a  table  playing 
chess,  while  the  envoy  is  kneeling  and  gesticulating 
in  the  foreground  outside  the  great  gate  of  the  palace. 
The  palace  guards  in  front,  the  ladies  of  the  court  play- 
ing bands  of  music  in  the  courtyards  or  engaged  in 
various  occupations  in  the  upper  stories  of  the  pavil- 
ions, and  the  rest  make  an  animated  scene,  in  the  midst 
of  which  the  empress  is  approaching  on  the  right  to 
remonstrate  with  her  dilatory  spouse,  walking  with  dig- 
nified mien,  attended  by  two  eunuchs,  who  hold  cere- 
monial fans  over  her  head. 
Mark:  A  square  blue  seal. 
K'ang-hsi  (1662-1722).  Diameter  22>i  inches. 

860,861.  TWO  TRIPLE-GOURD  VASES.  The 
upper  and  lower  sections  are  of  mirror  black;  the  lower 
is  decorated  with  intricate  scroll-work  of  conventional 
design  which  is  relieved  against  a  gold  ground,  support- 
ing four  circular  reserves  with  vases  of  flowers  and  em- 
blems.   The  middle  section  is  of  brilliant  white  with 

.    >55 


CASE    XXXV]        THE   MORGAN    COLLECTION 

four  lions  with  spheres  and  fire-emblems.    The  top 
shows  two  phoenixes  in  gold  on  the  black  enamel. 
K'ang-hsi  (1662- 1722).  Height  26K  inches. 

862,863.  TWO  WIDE-NECKED  BOTTLES.  Bril- 
liant white  porcelain.  On  the  body  the  characters 
Shou  (long  life)  and  Fu  (happiness)  beautifully  drawn 
in  transparent  and  lustrous  enamel,  and  supporting 
groups  composed  of  the  eight  Immortals.  The  char- 
acter Shou,  on  the  opposite  side  of  the  vase,  reveals  in 
its  interstices  a  group  of  the  three  star-gods,  Fu,  Lu 
and  Shou,  attended  by  three  acolytes.  On  the  neck 
nebulae  alternate  with  flying  cranes.  Above  near  the 
lip,  a  band  of  inverted  ju-i  heads.  Round  the  base,  a 
scroll  border  surmounted  by  a  crenelated  line,  separated 
by  a  white  interval  above  from  a  broad  border  of  con- 
ventional lotus  petals. 
K'ang-hsi  (1662-1722).  Height  I7>^  inches. 

864.  OVIFORM  VASE  with  short  neck  and  spread- 
ing lip.  Brilliant  white  porcelain.  On  the  body  six 
lions  and  tigers  playing  with  spheres,  intermingled  with 
various  emblems  and  capricious  ornament.  Round 
the  base  of  the  neck,  a  band  of  ju-i  heads  surmounted 
by  disks  and  on  the  outside  rim  a  similar  band  inverted. 
K'ang-hsi  (1662-1722).  Height  18^  inches. 

865.  GLOBULAR  WATER-BOTTLE  with  straight 
and  narrow  neck.  A  vase  of  the  highest  quality  and 
technique,  decorated  with  transparent  luminous  enam- 
els of  great  beauty  and  delicacy.  The  subject  accord- 
ing to  the  accompanying  inscription,  is  that  of  Ssu 
Hao  (Four  Hoary  Hermits),  who  are  apparently  the 
local  Taoist  genii  of  the  mountains.  They  once,  the 
legend  says,  were  men  who  lived  in  the  country  and 
wandered  away  one  day  in  the  hills  till  they  were  lost. 
In  due  course  of  time  they  attained  immortality,  and 

156 


OF    CHINESE    PORCELAINS        [CASE    XXXV 

they  are  yet  occasionally  to  be  seen,  it  is  declared,  by 
favored  votaries,  in  some  of  the  inmost  recesses  of  the 
mountains. 

The  unique  importance  of  this  piece  is  due  to  the 
fact  that  the  inscription  in  verse  which  is  attached  to 
the  above  picture  is  dated.  It  closes  thus:  "On  a 
fortunate  day  in  the  Shang-huan  decade  of  a  summer 
month  in  the  cyclical  year  hsin  mao."  This  would  cor- 
respond to  the  year  A.  D.  1711  of  our  calendar.  The 
locality  and  seal  of  the  artist  follow.  The  bottle  is 
marked,  moreover,  underneath  with  a  large  double 
ring  penciled  in  blue. 
K'ang-hsi  (1662- 1722).  Height  18  inches. 

866.  CYLINDRICAL  VASE,  club-shaped.  Bril- 
liant white  porcelain  entirely  covered  with  the  po-iich 
(hundred  butterflies)  motive. 

K'ang-hsi  (i 662-1 722).  Height   17  inches. 

(plate  lxiv) 

867.  BEAKER  VASE  with  oviform  body  and  wide- 
spreading  mouth.  Elaborately  decorated  in  brilliant 
colors  and  gold  with  pheasants  on  rocks  among  peonies, 
chrysanthemums,  bamboos,  and  pines.  On  the  shoul- 
der is  a  border  of  inverted  ju-i  heads;  above  it  a  broad 
border  of  frog-spawn  on  which  red  peony  flowers  are 
arranged,  with  four  white  reserves  enclosing  red  flowers. 

Note  the  usual  association  of  the  pheasant  with  the 
chrysanthemum  and  the  phoenix  with  the  peony.  The 
leaf-shaped  reserves  of  this  floral  diapered  band  encir- 
cling the  shoulder  of  this  beaker  contain  naturalistic 
sprays  of  orchid  and  peach  blossom.  This  last,  by  the 
way,  may  be  distinguished  from  the  prunus,  with  which 
it  is  sometimes  confounded,  by  its  indented  petals  and 
by  the  presence  of  leaves  with  the  flowers. 
K'ang-hsi  (1662- 1722).  Height  15^  inches. 

157 


CASE    XXXV]       THE    MORGAN    COLLECTION 

868.  OVIFORM  VASE  with  short  neck  and  spread- 
ing lip.  White  porcelain,  brilliant  and  diversified  deco- 
ration in  translucent  enamels  of  landscape  and  figures 
depicting  a  historical  episode. 

K'ang-hsi  (1662-1722).  Height  17K  inches. 

869.  GLOBULAR  WATER-BOTTLE  with  straight 
and  narrow  neck.  Brilliant  white  dense  porcelain, 
decorated  with  lions  and  tigers  playing  with  balls  in  bril- 
liant polychrome.  The  shoulder  encircled  by  a  broad 
border  of  chrysanthemums  in  red  and  green,  surmount- 
ed by  ju-i  heads.  Round  the  outer  rim  is  a  border 
of  rice  pattern,  with  inverted  ju-i  heads  below,  from 
which  hang  various  ornaments. 

K'ang-hsi  (1662- 1722).  Height   18  inches. 

870  to  873.  FOUR  OCTAGONAL  VASES  with 
spreading  mouths,  on  four-legged  porcelain  stands. 
The  bodies  divided  vertically  into  eight  panels  contain- 
ing flowers,  exquisitely  drawn  and  painted  in  delicate 
colors.  The  bases  have  narrow  scroll  borders  in  red. 
The  necks  vertically  divided  into  four  sections  covered 
with  trellis-work,  alternately  red  on  white  and  green 
and  yellow.  A  red  scroll  border  encircles  the  outer  rim ; 
the  handles  simulate  wound  cane. 
K'ang-hsi  (1662-1722).  Height  9  inches. 

874,875.  TWO  PEAR-SHAPED  BOTTLES. 
White  porcelain,  elaborately  decorated  with  a  design 
in  red  transparent  enamel  of  phoenixes  and  peonies  on 
an  intricate  ground  of  scroll-work.  Above  the  bases, 
which  are  decorated,  is  a  broad  cartouche  border. 
K'ang-hsi  (1662-1722).  Height  8^  inches. 

876.  PILGRIM  BOTTLE  with  gold  cap  attached  by 
chains  to  the  handles.  White  porcelain.  On  each 
side  in  a  circular  medallion  a  four-clawed  dragon,  deli- 

158 


OF   CHINESE    PORCELAINS       [CASE    XXXV 

cately  pencilled  in  red,  is  disporting  in  the  firmament 

with  fire-emblems. 

K'ang-hsi  (1662- 1722).  Height  8  inches. 

877,  878.  TWO  CYLINDRICAL  VASES,  club- 
shaped.  White  porcelain,  very  richly  decorated  in 
bright  polychrome  with  landscapes  and  figures,  re- 
presenting a  Chinese  court  ceremonial,  brilliant  per- 
sonages in  pagodas  set  in  highly  wrought  landscapes 
with  elaborate  accessories. 
K'ang-hsi  (1662-1722).  Height  19K  inches. 

879.  LARGE  BASIN  OR  FISH-BOWL,  with 
straight  flange  rim.  Decorated  with  ducks  and  water- 
plants  boldly  painted  in  blue,  red,  green,  and  yellow 
enamels  of  the  later  Mings,  on  heavy,  dense-white 
glaze. 

Mark:  Below  the  rim,  written  horizontally,  Ta  Ming 
IVan-li  nien  chih  (Made  in  the  reign  of  Wan-li  of  the 
great  Ming  dynasty). 
Wan-li  (1573-1619).  Diameter  17^  inches. 


CASE  XXXVI 

880,881.  TWO  BEAKERS  with  straight  necks, 
spreading  lips,  slightly  spreading  bases,  and  scroll  han- 
dles modelled  in  the  form  of  the  fungus  {ling-chih), 
on  carved  ebony  stands.  One  is  purplish-blue,  with 
a  peony  springing  from  behind  a  rock  modelled  in  low- 
line  relief,  the  buff  color  of  the  paste  showing  through 
the  glaze  in  the  flower  and  rock  and  in  parts  of  the  han- 
dles. 

In  the  other  a  dark  purplish-blue  ground  supports  a 
conventional  lotus  flower  with  scroll-like  leaves  model- 
led in  low  relief.  The  orange-colored  paste  shows  al- 
most purely  in  the  flower  and  partially  through  the 

159 


CASE    XXXVl]     THE    MORGAN    COLLECTION 

leaves  and  handles,  forming  shades  of  rich  green  and 
purple.  The  lip  and  base  are  orange.  Imitation  of 
Sung  or  Ming. 

Yung-cheng  (1723-173 5).  Height   16K  inches. 

(plate  lxviii) 

882.  BEAKER  with  dragon  handles.  A  character- 
istic beaker  of  early  Ming  porcelain  worthy  of  some 
study,  rough  as  it  is,  being  of  heavy,  massive  make  and 
archaic  style.  One  portion  of  the  decoration,  the  open- 
work dragon  handles  and  the  foliated  band  around  the 
shoulder  of  the  vase,  is  executed  in  underglaze  purplish 
blue,  and  left  with  a  modicum  of  white  reserve.  The 
rest  of  the  surface  is  filled  in  with  two  enamels  peculiar 
to  the  time,  a  rich  green  of  mottled  aspect  and  a  full 
yellow  of  orange  tone,  all  the  details  of  the  decoration 
being  finally  outlined  in  black  brush  work.  The  foot, 
roughly  shaped  on  the  lathe,  is  not  glazed,  and  there 
is  no  "mark  "  attached. 

Ming  ( 1 368-1643).  Height  20  inches. 

(plate  lxix) 

883.  INCENSE-BURNER  with  four  vertical  flanges 
on  the  sides,  and  pyramidal  base.  Clair-de-lune  and 
purplish-orange  crackle.  Base  of  a  Kuang-yao  piece, 
cut  down. 

Height  4X  inches.     Diameter  5^  inches. 

884.  BOTTLE,  with  long,  bulbous  neck.  In  dark- 
purple  aubergine  glaze,  a  horse-headed  dragon  of  ar- 
chaic form,  modelled  in  high  relief,  coils  downward 
round  the  neck,  the  yellowish  biscuit  showing  in  places. 
Ming  (1368-1643).  Height   11   inches. 

885.  OVIFORM  VASE  with  short  neck  and  over- 
hanging lip.    The  body  of  a  dark  grayish-blue  glaze 

160 


OF   CHINESE    PORCELAINS        [CASE    XXXVI 

covered  with  a  broadly  treated  floral  design  in  various 

shades  of  purple. 

Early  Ming  (1368- 1643).  Height   12  inches. 

886.  LONG-NECKED  VASE,  octagonal  with  flar- 
ing mouth.  Purple  aubergine  glaze  with  archaic  dragon 
coiled  round  the  neck  in  high  relief.  Typical  piece 
of  old  Kuang-yao,  with  archaic  designs  worked  in 
relief,  and  filled  in  with  mottling  glazes  of  finely 
crackled  texture.  The  iron  gray  color  of  the  pate  is 
seen  on  inspection  of  the  foot  underneath. 

Height  1 1  inches. 

887.  OVIFORM  FLATTENED  VASE.  Fine  dark 
metallic  blue  crackle.  Southern  China,  sixteenth  cen- 
tury. Height  7^  inches. 

888.  BOWL.  Clair-de  lune;  heavy,  rich  robin's-egg 
glaze. 

Sung  (420-1279).  Height  3X  inches. 

889.  SEATED  FIGURE.  In  a  deep  purple-blue 
robe  with  border  and  belt  of  turquoise;  on  his  breast  in 
an  oval  is  a  pale  yellow  dragon  in  low  relief. 

Ming  (i 368-1643).  Height  9  inches. 

890.  SMALL  PILGRIM  BOTTLE  with  bulbous 
mouth.  Pale  dair-de-lune  blue  on  a  dull  orange  paste. 
On  each  side  are  the  eight  mystical  trigrams  of  the 
Taoists  radiating  from  the  yin-yang  emblem. 

Sung  (420-1279).  Height  4K  inches. 

891.  BOWL.  A  characteristic  Sung  dynasty  bowl 
with  a  grayish  purple  crackled  glaze,  clouded  with  an 
irregular  patch  of  warmer  tone  inside;  and  outside  run- 
ning down  in  a  thick  unctuous  film,  which  ends  below 

161 


CASE    XXXVl]     THE    MORGAN    COLLECTION 

in  an  irregular  line,  so  as  to  leave  the  lower  part  of  the 

bowl  and  the  foot  unglazed. 

Sung  (420-1279).  Height  3>^  inches. 

892.  BULBOUS  VASE.  Dense  purplish  porce- 
lain, with  an  orange-peel  surface. 

Yung-ch'eng  (1723-1735).  Height  4>^  inches. 

893.  VASE,  foliated  neck,  melon-shaped  body,  and 
stem-like  foot.  A  Kuang-yao  vase  modelled  in  a  form 
much  affected  in  these  potteries  and  invested  with  a 
grayish  celadon  glaze.  Some  of  the  glaze  around  the 
foliated  rim  has  been  chipped  off,  disclosing  the  dark- 
colored  paste  underneath. 

K'ang-hsi  (1662-1722).  Height   13  inches. 

894.  VASE,  flattened  oviform  shape,  with  spreading 
foot.  Body  yellowish-white  with  reserves  in  archaic 
borders  of  blue,  red,  and  green  and  crude  floral  and 
other  ornament.  The  provenance  of  this  peculiar 
archaic  style  of  decoration  of  which  this  vase  is  a  fine 
example,  has  not  yet  been  satisfactorily  determined. 
It  has,  meanwhile,  been  by  some  authorities  provis- 
ionally attributed  to  Corea,  but  more  light  is  needed. 

Height  13  inches. 

895.  FIGURE  OF  KUAN-YIN,  the  Chinese  god- 
dess of  mercy.  Seated  in  a  shrine  of  purple-blue  rocks, 
in  which  are  ensconced  various  objects,  including  a 
miniature  enshrined  Buddha.  In  the  goddess's  head- 
dress or  tiara  is  another  miniature  Buddha  seated  on 
a  lotus  flower;  a  turquoise  parrot  and  diminutive  figure 
in  biscuit,  with  a  garment  in  green,  turquoise,  and  yel- 
low, attend  at  each  knee.  The  technique  of  this  re- 
markable image  of  Kuan-yin  (Avalokitesvara)  is  spec- 
ially interesting.  There  are  several  affinities  to  the 
celebrated  figure  of  the  same  divinity,  which  is  enshrin- 

162 


OF   CHINESE    PORCELAINS       [CASE    XXXVI 

ed  in  the  Buddhist  temple,  Pao  Kuo'ssu,  at  Pekin,  and 
which  is  credibly  attributed  to  the  Yuan  dynasty. 
Ming  (1368-1643).  Height  22  inches. 

(plate  lxx) 

896.  OVIFORM  JAR.  Dark  purple-blue  body  with 
diffuse  ornament  in  relief  in  turquoise,  intermingled 
with  light  blue  and  orange.  The  main  decoration  of 
this  oviform  jar,  a  production  of  the  Pekin  potteries, 
consists  of  scenes  illustrative  of  the  "four  liberal  arts" 
of  the  Chinese:  music  (ch'in)  and  chess  (ch'i)  being 
grouped  together  in  one  panel,  while  the  other  two  are 
devoted  to  painting  {hua)  and  literature  (shu). 

Ming  ( 1 368-1 643).  Height   13  inches. 

(plate  lxxii) 

897.  CHUN-CHOU  TRIPOD  BOWL  on  carved 
ebony  pedestal.  Of  light  purplish-blue  and  clair-de 
lune  porcelain,  the  other  rim  encircled  by  a  flat  project- 
ing band  with  studs,  which  like  the  feet,  are  of  a 
bronze-orange. 

Mark:  fVu  (five) ,  incised  in  foot.    Diameter  y}^  inches. 


CASE  XXXVII 

898.  INVERTED  PEAR-SHAPED  VASE.  Round 
the  shoulder  arabesque  festoons  in  high  relief,  from 
which  depend  beaded  cords  with  ju-i  heads  and  pre- 
cious emblems  similarly  treated;  below,  a  foliated  car- 
touche border  surmounted  by  a  row  of  bosses,  the  whole 
in  relief  on  an  intense  blue  ground. 

Early  Ming  (1368- 1643).  Height  18  inches. 

899.  QUADRILATERAL  INCENSE-BURNER. 
On  the  back  and  front  panels  are  four-clawed  dragons 
among  waves,  pierced  through  and  elaborately  carved 

163 


CASE    XXXVIl]   THE    MORGAN    COLLECTION 

on  the  sides.  The  four  feet  are  lions'  heads.  On  the 
Hd  is  another  dragon  on  a  rock,  and  a  row  of  inverted 
ju-i  heads  on  the  edge.  The  whole  invested  with  a 
dark  purple  glaze  relieved  by  grayish-yellow,  green, 
and  blue. 
Early  Ming  (i 368-1 643).  Height  igX  inches. 

900.    GLOBULAR    JAR    with    bell-shaped    cover. 
Decorated  in  low  relief  line  with  figures  of  the  Im- 
mortals in  waves  and  clouds,  in  low-toned  colors  on  a 
dull  blue  ground. 
Early   Ming  (1368- 1643).  Height    i^^   inches. 

901,902.  TWO  GARDEN-SEATS.  Round  the 
centre  a  broad  band,  pierced  and  modelled,  showing 
four-clawed  red  dragons  among  yellow  chrysanthe- 
mums with  blue-green  leaves.  On  each  side  dark  blue 
lion-head  rudimentary  handles  surrounded  by  curl- 
work  in  foliated  ovals.  Above  and  below  the  reticu- 
lated space  are  rows  of  knots  of  opalescent  blue  on  a 
deep,  dull  blue  ground. 
Ming  (1368-1643).  Height  15  inches. 

903.  WINE-BOTTLE.  Deep  blue  porcelain.  Round 
the  centre  a  band  pierced  to  show  cream-colored  and 
orange  peonies  with  blue-green  leaves. 

Early  Ming  (1368-1643).  Height  8K  inches. 

904.  WATER-BOTTLE  with  neck  and  shoulder  in 
four  lateral  concave  sections.  The  two  upper  sections 
are  cobalt-blue  blotched  with  aubergine,  the  lower  one 
is  aubergine,  while  the  third  is  pure  cobalt  like  the  body, 
on  which,  in  relief,  and  defined  in  purple,  are  the  eight 
precious  objects  of  the  Buddhists. 

Ming  (i 368-1643).  Height  9^  inches. 

905.  906.   TWO  JARS.     Decorated  in  low-relief  line 

164 


OF    CHINESE    PORCELAINS      [CASE    XXXVII 

with  ochre-tinted  lotus  flowers  with  bluish-green  leaves 
on  an  aubergine  ground;  round  the  necks  are  primitive 
cartouche  borders. 
Ming  (1368- 1 643).  Height  6X  inches. 

907.  TRIPOD  INCENSE-BURNER  with  studded 
metal  rim.  Elaborately  modelled  to  show  an  imperial 
dragon  and  phoenix  disporting  among  peonies.  The 
feet  are  massive  ling-chih.  The  whole  in  green,  yel- 
low, and  purple  glaze. 

Ming  (1368-1643).  Height  6K  inches. 

908.  VASE.  Round  the  shoulder,  connected  by  a 
festooned  cord,  are  eight  lion-heads  with  tassels  hang- 
ing from  their  mouths;  below  are  seen  the  eight  Immor- 
tals; the  whole  reticulated  and  in  relief,  the  biscuit 
showing  buff  on  a  bright  blue  ground  above  the 
shoulder  and  on  deep  purple  below. 

Early  Ming  (1368-1643).  Height  10  inches. 

909.  LARGE  GLOBULAR  VASE  with  cover.  The 
whole  in  light  blue  unctuous  glaze  of  early  Ming.  The 
main  decoration  of  this  captivating  jar,  like  that  of 
No.  896,  which  is  apparently  a  production  from  the 
same  workshop,  consists  again  of  the  "four  liberal 
arts,"  with  the  necessary  apparatus  and  figures  grouped 
in  somewhat  similar  fashion  as  in  the  companion  jar, 
but  lightened  by  a  pierced  background  along  the 
broad  openwork  band,  which  forms  an  outer  casing  for 
a  ponderous  jar.  The  soft  turquoise  tint  which  pre- 
vails in  the  decoration  of  this  jar  makes  an  admirable 
contrast  to  the  bright  aubergine  ground  of  the  other. 
Early  Ming  (1368-1643).  Height  18  inches. 

(plate  lxxi) 

910.  INVERTED  PEAR-SHAPED  VASE  with 
short  neck  and  spreading  base.    This    baluster  form 

165 


CASE    XXXVIII]   THE    MORGAN    COLLECTION 

of  vase,  with  its  slightly  spreading  foot,  rounded, 
swelling  shoulder,  small  neck  and  lightly  rimmed 
mouth,  is  known  to  the  Chinese  by  the  name  of  mei 
p'ing  (prunus  vase),  and  is  supposed  by  them  to  be 
an  appropriate  shape  to  hold  a  single  spray  of  prunus 
blossoms  as  a  herald  to  the  New  Year's  festival.  The 
decoration  is  finely  worked  in  relief  in  the  paste,  so 
that  the  enamels  are  enclosed  within  raised  outlines 
sharply  and  crisply  modelled.  The  technique,  in 
fact,  is  not  so  far  different  from  that  of  a  champleve 
enamel  on  copper. 
Ming  (1368- 1 643).  Height  14X  inches. 


CASE  XXXVIII 

911.  OVOID  VASE.  A  large  ovoid  vase  from  the 
imperial  potteries  of  the  Ch'ien-lung  period  with  the 
inside  of  the  neck  and  the  foot  enamelled  green,  so  as 
to  leave  a  small  square  reserve  underneath,  in  which 
the  seal  mark  of  the  reign  is  pencilled  in  red.  It  is 
decorated  outside  in  the  soft  enamels  of  the  famille 
rose  with  gilding.  The  ground,  tooled  with  graviata 
scroll  work,  is  enamelled  pink,  filling  in  all  the  intervals 
between  sparsely  spread  sprays  of  natural  flowers 
which  are  delicately  tinted  in  colors.  This  floral 
ground  is  interrupted  by  three  circular  reserves  which 
are  painted  with  the  panel  pictures  which  form  the 
main  decoration  of  the  vase.  The  groups  of  figures 
which  occupy  the  panels  are  of  Taoist  aspect,  the 
central  figure  of  each  group  being  an  aged  pilgrim 
leaning  on  a  stafl^  and  holding  in  his  hand  respectively 
a  spray  of  chrysanthemums,  a  bunch  of  peonies  and  a 
sprig  of  prunus  in  blossom.  Perhaps  the  three  star 
gods,  Fu,  Lu  and  Shou  are  intended  to  be  represented. 
Upon  the  shoulder  and  neck  of  the  vase  the  forms  of  a 
pair  of  lizard  dragons  {ch'ih  lung)  and  the  figure  of  a 

166 


OF   CHINESE    PORCELAINS   [CASE    XXXVIII 

bat,  the  emblem  of  happiness,  are  worked  in  high 
undercut  relief,  and  colored  with  the  same  palette. 
Ch'ien-lung  (1736-1795).  Height  21    inches. 

912.  OVOID  JAR  with  lion  cover.  A  ground  of 
scroll  lotus  on  black  in  brilliant  colors  supports  four 
foliated  oval  reserves  enclosing  landscapes  and  flowers; 
rows  of  deep  rose  petals,  with  floral  decorations,  en- 
circle the  base  and  shoulder. 
Ch'ien-lung  (1736- 1795).  Height    24%    inches. 

913,914.  TWO  OVOID  JARS  with  lion  covers. 
Elaborate  decorations  of  chrysanthemum  and  em- 
blems in  brilliant  colors  on  black,  with  leaf-scroll  and 
fruit-shaped  reserves  enclosing  flowers,  birds,  and  deer. 
Ch'ien-lung  (i  736-1 795).  Height  33  inches. 

(plate  lxxvi) 

915,916.  TWO  OVOID  FLUTED  VASES  with 
lion  covers.  Red,  yellow,  and  white  chrysanthemum- 
scroll  on  a  black  ground  supporting  reserves  of  varied 
form  enclosing  landscapes  and  flowers  in  brilliant 
colors. 
Ch'ien-lung  (1736-1795).  Height  i8>^  inches. 

917.  COVERED  FLUTED  BOWL.  Rose  and  white 
peonies,  red,  yellow,  and  white  asters,  and  convolvulus 
with  green  scroll  leaves  on  a  black  ground. 
Ch'ien-lung  (1736-1795).  Height  8  inches. 

918,  919.  TWO  CUPS  AND  SAUCERS.  Decor- 
ated with  a  figure  scene,  apparently  copied  from  a 
European  copper-engraving,  in  low-toned  colors  and 
gold. 

Ch'ien-lung  (1736- 1795). 

Cups:  Height   \%  inches. 
Saucers:  Diameter  4K  inches. 

167 


CASE    XXXVIII]THE   MORGAN   COLLECTION 

920,921.   TWO  CUPS  AND  SAUCERS.      A   lady 
in  European  costume  holding  a  flower,  with   landscape 
background,  occupies  one-third  of  the  design;  the  rest, 
Chinese  fruits  and  flowers,  with  scroll-work. 
Ch'ien-lung  (1736-1795). 

Cups:  Height   i]^  inches. 
Saucers:  Diameter  4>^  inches. 

922.  CUP  AND  SAUCER.  The  cup  has  white 
prunus  in  reserve  on  black,  with  three  foliated  reserves 
enclosing  sprays  of  flowers  and  blue  triangle  border 
inside;  the  saucer,  floral  decoration  and  borders  in 
blue,  red,  and  green;  the  back  is  black  with  flowers  in 
reserve. 

Ch'ien-lung  (i 736-1 795). 

Cup:  Height    i^   inches. 
Saucer:  Diameter  4^^  inches. 

923.  CUP  AND  SAUCER.  A  tiny  cup  and  saucer 
painted  inside  in  colors  with  the  lotus  and  melon  gourd, 
and  covered  outside  in  laque  burgautee  with  delicately 
executed  landscapes.  The  lacquer  layer  is  peeling  off 
in  places,  revealing  the  rough,  unglazed  surface  of  the 
porcelain,  as  specially  prepared  for  the  reception  of  the 
lac  and  the  tinted  slips  of  mother-of-pearl  and  gold 
leaf  employed  in  this  method  of  decoration. 
Ch'ien-lung  (1736-1795). 

Cup:  Height    i}{   inches. 
Saucer:  Diameter  4>^  inches. 

924.  CUP  AND  SAUCER.  The  saucer  shows  a 
familiar  scene,  with  a  lady  seated  at  a  table  playing 
on  a  pipa,  or  guitar,  and  a  boy  holding  a  ju-i  sceptre; 
the  cup  has  rose-flowered  octagon-and-square  impinged 
upon  above  by  a  lambrequin  of  Y-pattern  on  gold. 
Ch'ien-lung  (1736-1795). 

Cup:  Height    i}4  inches. 
Saucer:  Diameter  6  inches. 

168 


OF    CHINESE    PORCELAINS   [CASE    XXXVIII 

925.    COVERED  CUP  AND   SAUCER.     Showing 
a  street  scene,  with  two  ladies  passing  on  horseback, 
while  two  others  and  a  man  look  forth  from  a  house 
near  by;  painted  in  sombre  colors  and  gold. 
Ch'ien-lung  (1736-1795). 

Cup:  Height  334'  inches. 
Saucer:  Diameter  6>^  inches. 

926,927.  TWO  OCTAGONAL  COVERED  CUPS 
AND  SAUCERS.  With  yellow  and  white  asters  in 
black  panels  alternating  with  white  ones  enclosing 
peonies  and  chrysanthemums  in  bright  rose,  green, 
and  blue. 
Ch'ien-lung  (i  736-1 795). 

Cups:  Height  3X  inches. 
Saucers:  Diameter  4>^  inches. 

928.  CUP  AND  SAUCER.  Alternate  panels  of 
gold  and  black,  with  geometric  borders  enclosing  em- 
blems and  flowers. 

Ch'ien-lung  (1736-1795). 

Cup:  Height  \}4  inches. 
Saucer:  Diameter  ^yi  inches. 

929.  BOWL  AND  SAUCER.  Rich  and  elaborate 
floral  and  geometric  decoration  in  brilliant  colors  and 
gold;  the  bowl  with  two  white  reserves  showing  flower- 
ing shrubs  and  pheasants. 

Ch'ien-lung  (1736-1795). 

Bowl:  Height  2^  inches. 
Saucer:  Diameter  6%  inches. 

930.  PLATE,  rose-backed.  A  lady  seated  on  a 
bench,  before  her  three  children  at  play,  while  another 
looks  at  them  over  her  shoulder.  On  the  edge  four 
sprays  of  flowering  plants;  the  whole  in  bright  enamel 
colors. 

Ch'ien-lung  (1736-1795).  Diameter  9>^  inches. 

169 


CASE    XXXVIII]THE    MORGAN    COLLECTION 

931,  932.  TWO  PLATES,  rose-backed.  In  the  cen- 
tre in  a  brilliant  blue  basket,  red  peony  and  other 
flowers;  on  the  edge  three  sprays  of  flowers  alternate 
with  three  groups  of  fruit,  the  whole  in  brilliant  enamels. 
Ch'ien-lung  (1736-1795).  Diameter  8>^  inches, 

933.  PLATE,  rose-backed.  In  the  centre  two 
sprays  of  flowers  and  a  butterfly;  on  the  edge  four 
sprays  of  flowers  in  bright  colors. 

Ch'ien-lung  (1736-1795).  Diameter  8  inches. 

934.  PLATE,  rose-backed.  A  lake  scene;  in  the 
foreground  two  boats,  a  female  figure  guiding  one  into 
which  a  man  is  handing  a  large  catfish,  held  by  another 
waist-deep  in  the  water;  on  the  edge  three  sprays  of 
flowers  alternate  with  three  bunches  of  fruit. 
Ch'ien-lung  (1736-1795).  Diameter  8>^  inches. 

935.  CUP  AND  SAUCER.  A  young  man  in  cos- 
tume of  Louis  XV  stands  beside  a  seated  girl,  her  left 
hand  holding  a  large  gold  floral  scroll;  the  rest  in  bril- 
liant color  enclosed  by  a  rose  octagon-and-square 
border. 

Ch'ien-lung   (1736-1795). 

Saucer:  Diameter  ^%  inches. 
Cup:  Height  2}4  inches. 

936.  CUP  AND  SAUCER.  Showing  in  bright 
enamel  colors  a  lady  seated  playing  the  guitar  before 
a  boy  dancing;  the  rest  of  the  saucer  and  of  the  outside 
of  the  cup  is  dead  black  with  geometric  border  and 
floral  festoons  delicately  pencilled  in  gold. 
Ch'ien-lung  (i 736-1 795). 

Cup:  Height    iX   inches. 
Saucer:  Diameter  4K  inches. 

937,938.    TWO  CUPS  AND  SAUCERS.     Similar 

170 


OF    CHINESE    PORCELAINS    [CASE    XXXVIIl 

decoration  to  Nos.  918,  919,  but  in  darker  colors  and 
without  gold. 
Ch'ien-lung  (i 736-1 795). 

Cups:  Height  \}4  inches. 
Saucers:  Diameter  4>^  inches. 

939,  940.    TWO  CUPS  AND  SAUCERS.     Pastoral 
scenes  with  sheep  and  half-clad  figures  in  delicate  colors, 
with  borders  in  black  and  gold. 
Ch'ien-lung  (1736- 1795). 

Cups:  Height  iK  inches. 
Saucers:  Diameter  4^  inches. 


CASE  XXXIX 

941,942.  TWO  OVOID  JARS  with  lion  covers. 
Red,  blue,  and  rose  chrysanthemum  with  green  scroll 
leaves  on  a  black  ground  supporting  white  reserves  of 
varied  form  enclosing  cocks  with  peonies,  and  other 
birds  and  flowers  in  brilliant  colors. 
Ch'ien-lung  (1736-1795).  Height  24X  inches. 

943.  OVOID  JAR  with  lion  cover.  Peony,  lotus, 
and  chrysanthemum  scroll,  with  dark  and  pale  green 
scroll  leaves  on  a  black  ground,  supports  three  reserves 
of  arabesque  outline  enclosing  flowering  plants;  on  the 
shoulder  an  elaborate  lambrequin,  and  a  cartouche 
border  on  the  base;  the  whole  in  vivid  enamel  colors. 
Ch'ien-lung  (1736-1795).  Height  26^  inches. 

944,  946.  THREE  OVOID  JARS  with  bell-shaped 
covers.  Blue,  rose,  and  yellow  chrysanthemum  with 
deep  green  scroll  leaves  on  a  black  ground  supporting 
white  reserves  of  varied  shape,  with  flowers  in  delicate 
colors. 

Ch'ien-lung  (i 736-1 795).  Height  17X  inches. 

171 


CASE    XXXIX]      THE   MORGAN    COLLECTION 

947,  948.    TWO  CYLINDRICAL  VASES  with  trum- 
pet mouths  and  retreating  bases.     Blue,  yellow,  and 
white  chrysanthemum,  etc.,  as  on  No.  944. 
Ch'ien-lung  (i  736-1 795).  Height   14  inches. 

949,  950.    TWO  CYLINDRICAL  CUPS  AND  SAU- 
CERS.    Yellow  and   rose  chrysanthemum  with  deep 
green  leaves  on  a  black  ground,  with  white  reserves 
enclosing  flowers  in  rose,  green,  and  yellow. 
Ch'ien-lung  (1736- 1795). 

Cups:  Height  4X  inches. 
Saucers:  Diameter  6^  inches. 

951.  CYLINDRICAL  VASE  with  trumpet  mouth 
and  retreating  base.  Rose,  yellow,  and  blue  chrysan- 
themums with  green  scroll  leaves  on  a  ground  of  black 
supporting  two  foliated  oval  reserves  enclosing  flower- 
ing plants;  lotus-capped  arabesques  above  and  below. 
Ch'ien-lung  (1736-1795).  Height  13X  inches. 

952.  PLATE,  rose-backed.  A  lady  seated,  her  left 
arm  resting  on  a  table,  her  left  foot  across  her  knee,  be- 
side her  two  children,  vases,  etc.;  on  the  rim  three 
sprays  of  flowers  and  three  groups  of  fruit;  the  whole 
in  bright  colors. 

Ch'ien-lung  (1736-1795).  Diameter  8>^  inches. 

953.  SAUCER,  rose-backed.     A  flycatcher  in  bril- 
liant plumage  on  a  twig  of  rose  prunus  spreading  from 
the  right  edge  together  with  a  branch  of  bamboo. 
Ch'ien-lung  (1736-1795).  Diameter  8  inches. 

954.  SAUCER,  rose-backed.  Probably  Lii  Tung- 
pin,  one  of  the  eight  Immortals,  in  pale  yellow  robe, 
sea-green  trousers,  and  blue  shoes,  a  black  fly-brush  in 
his  hand,  riding  on  a  mottled  rose-colored  monster  with 
curly  black  mane,  beard,  and  tail,  and  a  gold  bell  round 

172 


OF    CHINESE    PORCELAINS       [CASE    XXXIX 

his  neck;  beside  him  runs  a  boy  carrying  his  red  and  gold 

sword  and  a  bundle  of  scrolls. 

Ch'ien-lung  (1736-1795).  Diameter 8>^  inches. 

955,  956.  TWO  SAUCERS,  rose-backed.  Scene  on 
the  stock-farm  of  the  Emperor  Mu  Wang,  of  the  Chou 
dynasty  (b.  c.  i  122-255),  showing  his  black,  white,  ver- 
milion-pied cadmium-yellow,  and  blush-rose  colored 
blooded  stock,  the  whole  eight  of  them  at  large  in  a 
rocky  pasture.  They  are  attended  by  a  monkey,  who, 
from  the  branch  of  a  willow  to  the  left  is  endeavouring 
to  regulate  the  movements  of  a  carmine  courser  by 
means  of  a  cord. 
Ch'ien-lung  (1736-1795).  Diameter  8  inches. 

957  to  959.  THREE  CUPS  AND  SAUCERS,  rose- 
backed.  In  centre  a  butterfly  and  beetle  hover  over 
peony  and  tea-plant  enclosed  by  a  pink  scroll  border 
and  yellow  Y-pattern,  with  three  reserves  enclosing  blue 
rose,  and  yellow  ling-chih. 
Ch'ien-lung  (1736-1795). 

Cups:  Height   lyi  inches. 
Saucers:  Diameter  4>^  inches. 

960,  961 .  TWO  CUPS  AND  SAUCERS,  rose-backed. 
Similar  to  the  preceding,  but  having  scroll  dragons  in 
some  reserves. 
Ch'ien-lung  (i 736-1 795). 

Cups:  Height   \%  inches. 
Saucers:  Diameter 4>^  inches. 


CASE  XL 

962.    OVOID  VASE.     Rose  peony,  magnolia,  and 
yellow  and  white  chrysanthemum  on  black,  supporting 

173 


CASE    XL]  THE    MORGAN    COLLECTION 

four  oval  foliated  reserves  enclosing  flowers  and  shrubs 

in  brilliant  colors. 

Ch'ien-lung  (i 736-1 795).  Height  17X  inches, 

963,964.    TWO    OVOID    JARS    with  bell  covers. 
White  reserves  of  various  shapes,  on  a  rose  ground,  en- 
closing birds  and  butterflies  with  flowers  and  land- 
scapes in  pale  colors. 
Ch'ien-lung  (i 736-1 795).  Height  17^  inches. 

965  to  967.  THREE  FLUTED  OVOID  JARS,  two 
with  metal  covers.  Brilliant  blue,  red,  and  yellow 
chrysanthemums  and  white  peonies  with  deep  green 
curled  leaves  on  a  black  ground;  round  the  bases  car- 
touche borders  in  the  same  colors. 
Ch'ien-lung  (1736- 1795).  Height  9K  inches. 

968,969.  TWO  CYLINDRICAL  VASES  with 
spreading  mouths  and  truncated  bases.  Red  chrysan- 
themum with  deep  green  scroll  leaves  and  an  occa- 
sional white  or  yellow  semi-blossom  on  a  black  ground 
supporting  yellow-edged  reserves  of  varied  form,  en- 
closing flowers  and  landscapes. 
Ch'ien-lung  (1736-1795).  Height  15X  inches. 

970.  CUP  AND  SAUCER.  The  cup  beautifully 
modelled  in  the  form  of  a  pink  lotus  blossom  with 
striated  petals,  green  stalks,  and  dark  red  bud  twisted 
to  form  the  base;  the  saucer  fashioned  as  a  pink  chry- 
santhemum with  white  centre,  green  stems  and  leaves. 
Ch'ien-lung  (1736-1795). 

Cup:  Height    2    inches. 
Saucer:  Diameter  ^%  inches. 

971,  972.    TWO  VESSELS  with  handles.     Branches 
of  prunus  with  birds,  and  red,  blue,  gold,  and  white 
flowers  in  low  relief  on  a  light  rose  ground. 
Ch'ien-lung  (1736- 1795). 

Height  4%  inches.     Diameter  5  inches. 

174 


OF    CHINESE    PORCELAINS  [CASE    XL 

973.  TEA-POT.     Figures    in    European    costume, 
borders,  and  lambrequins  in  brilliant  enamels. 
Ch'ien-lung  (i 736-1 795).  Height  7>^  inches. 

974,  975.  TWO  VESSELS  with  handles.  A  red  fish- 
roe  ground,  with  sprays  of  flowering  bamboo  and  gold 
prunus  on  the  bodies  and  inside  mouths,  with  foliated 
reserves  enclosing  emblems  and  flowers;  outside  on 
necks  are  sprays  of  lotus. 

Ch'ien-lung  (1736-1795). 

Height  4  inches.     Diameter  5  inches. 

976.    CUP  AND  SAUCER.     Modelled  as  chrysan- 
themum flowers,  with  stalks  and  leaves  in  relief  and 
painted  in  yellow,  aubergine,  and  green. 
Ch'ien-lung  (1736-1795). 

Cup:  Height  2}4  inches. 
Saucer:  Diameter  4  inches. 

977  to  979.  THREE  COVERED  BOWLS  with  dou- 
ble handles.  Modelled  as  chrysanthemum  flowers,  with 
twisted  stems,  leaves,  and  mice  superimposed  in  high  re- 
lief, and  painted  in  rose,  green,  yellow  and  vivid  cobalt. 
Ch'ien-lung  (1736-1795).  Diameter  5 X  inches. 

980.    VESSEL  with  fluted  mouth.     Floral  ornament 
in  white,  yellow,  and  green  on  ruby-red;  inside  mouth 
three  sprays  of  rose  peony. 
Ch'ien-lung  (1736-1795). 

Height  3>^  inches.     Diameter  4^  inches. 

981  to  983.   THREE  RETICULATED  HANGING 
GLOBES,  for  fragrant  flowers.     Floral  and  scroll  dec- 
oration in  vivid  enamel  colors. 
Ch'ien-lung  (1736-1795).  Diameter  3 ><  inches. 

984.    OCTAGONAL     PLATE.    A    greenish-yellow 

175 


CASE    XL]  THE    MORGAN    COLLECTION 

buck  and  rose-colored  doe  tripping  by  brilliant  blue 
rocks  with  red  peony,  asters,  ling-chih,  and  overhanging 
prunus;  framed  in  an  eight-pointed  pale  blue  star,  with 
red  lotus  flowers  in  each  ray  on  a  ground  of  deep  rose 
with  alternating  trellis  and  swastika  diapers  and  blue 
and  yellow  flowers. 
Ch'ien-lung  (1736-1795).  Diameter  7^  inches. 

985.  OCTAGONAL  PLATE.  Woman  and  boy  in 
boat  approaching  one  on  shore  with  a  child  slung  on  her 
back  beneath  willow  and  red  prunus  trees;  framed  in  a 
deep  blue  star,  with  red  lotus  in  each  ray,  on  a  diapered 
rose  ground. 

Ch'ien-lung  (1736-1795).  Diameter  7^  inches. 

986,  987.  TWO  OCTAGONAL  PLATES.  Sprays 
of  flowers  and  geometric  design  in  deep  rose  and  deli- 
cate enamel  colors,  with  four  intervals  enclosing  floral 
scrolls  in  black. 

Ch'ien-lung  (1736-1795).  Diameter  7^^  inches. 

988  to  993.  SIX  OCTAGONAL  PLATES.  A  fam- 
iliar scene  showing  a  lady  seated  and  two  children,  sur- 
rounded by  objects  of  taste  and  utility;  poorly  drawn; 
the  edges  have  eight  oblong  reserves  with  sprays  of  flow- 
ering plants  on  a  rose  ground. 
Ch'ien-lung  (1736-1795).  Diameter  8>^  inches. 

993A.  HANGING  GLOBE.  A  beautiful  little  hang- 
ing globe,  with  pierced  openwork  sides  and  small,  round 
cover,  delicately  enamelled  with  bright  colors  and  gild- 
ing of  the  reign  of  K'ang-hsi.  The  decoration  con- 
sists of  sprays  of  peony  flowers,  arranged  in  medallions, 
spandrels,  and  encircling  bands,  with  grounds  pierced 
in  a  hexagonal  pattern.  The  solid  borders  of  this 
pierced  work,  and  the  rims,  are  overlaid  with  a  fine 
brocade  studded  with  prunus  blossoms  shaded  alter- 

176 


OF   CHINESE    PORCELAINS  [CASE    XL 

nately  red  and  purple,  and  the  four  medallions  are 
clasped  at  their  meeting  points  with  red  and  gold  sceptre 
heads  of  prunus  flowers.  They  are  intended  to  be  hung 
in  the  corners  of  ceiling  lamps  filled  with  fragrant  jas- 
mine flowers  or  artificial  perfumes. 
K'ang-hsi  (1662- 1722). 

994,  995.  TWO  CUPS  AND  SAUCERS.  With  out- 
side honeycomb  reticulation,  medallions  pierced  with 
radiating  lines,  and  floral  and  geometric  decoration  in 
colors  and  gold. 

K'ang-hsi  (1662- 1722).  Cups:  Height  3  inches. 

Saucers:  Diameter  5  inches. 

996.  CUP  AND  SAUCER.  Familiar  scenes  of  lad- 
ies and  children  at  various  occupations,  painted  in 
bright  enamels  and  gold. 

Ch'ien-lung  (1736-1795). 

Cup:  Height  i^  inches. 
Saucer:  Diameter  ^%  inches. 

997,  998.    TWO  CUPS  AND  SAUCERS.     Lady  and 
girl  under  a  willow  painted  in  bright  colors. 
Ch'ien-lung  (i  736-1 795). 

Cups:  Height  2}i  inches. 
Saucers:  Diameter  5  inches. 

999.  CUP  AND  SAUCER.  A  lady  seated  on  a  blue 
rock  beneath  a  tree,  discoursing  to  a  child  who  plays 
with  a  cat;  near  by  are  vases  with  fruits  and  flowers;  in 
brilliant  colors  surrounded  by  a  gold  scroll  border  on  a 
blue  Y-pattern. 
Ch'ien-lung  (1736-1795). 

Cup:  Height    \^  inches. 
Saucer:  Diameter  5X  inches. 

177 


CASE    XLl]  THE   MORGAN   COLLECTION 

CASE  XLI 

1000,  looi.  TWO  OVOID  JARS  with  bell  covers. 
Familiar  scenes  and  cocks  in  rose  prunus  trees,  en- 
closed in  reserves  of  varied  form  intermingled  with  pale 
yellow  and  rose  chrysanthemum  sprays  and  isolated 
blossoms  on  deep  rose  ground. 

Ch'ien-lung  (1736-1795).  Height  25  inches. 

(plate  lxxiii) 

1002.  BOWL.    The  outside  deep  rose  with  petal- 
shaped  forms  in  blue  surmounted  by  a  yellow  diaper 
and  gold  rim.     Inside  is  a  vase,  flowers  on  a  white 
ground,  and  a  floral  border  with  white  reserves. 
Ch'ien-lung  (1736-1795).  Diameter  15X  inches. 

(plate  lxxiii) 

1003,  1004.  TWO  LARGE  VASES,  with  elaborate 
decoration  of  phoenixes  and  flowers  in  the  transparent 
enamels  of  the  middle  Ch'ien-lung  period.  Richly 
decorated  borders  of  diaper  and  various  ornament  on 
the  shoulder  and  cover,  the  latter  surmounted  with  a 
peach  in  rose  enamel. 

Ch'ien-lung  (1736- 1795).  Height  30  inches. 

1005.  STANDING  FIGURE.  Dressed  in  robes  of 
sea-green  and  imperial  yellow,  with  elaborate  decora- 
tion of  gold-headed  vermilion  phoenixes  in  round  medal- 
lions and  red  lotus  with  black  leaves  on  a  deep  green 
ground;  her  girdle  is  embroidered  in  blue-flowered  oc- 
tagon-and-square,  the  squares  having  the  sacred  swas- 
tika in  black  on  yellow;  her  skirt  is  covered  with  bril- 
liant butterflies;  her  shoes  are  red. 
Ch'ien-lung  (1736-1795).  Height  37  inches. 

(plate  i) 

178 


OF    CHINESE    PORCELAINS  [CASE    XLl 

1006  to  loio.  FIVE  CUPS  AND  SAUCERS.  Each 
decorated  with  three  butterflies,  exquisitely  drawn  and 
painted,  hovering  on  a  deep  rose  ground;  in  the  bottom 
of  the  cups  and  the  centre  of  each  saucer  is  a  yellow 
flower  with  green  leaves. 
Ch'ien-lung  (1736-1795). 

Cups:  Height  1%  inches. 
Saucers:  Diameter  4%   inches. 

loii.    CUP  AND   SAUCER.     Ruby  ground  with 
white  reserves  enclosing  floral  and  scroll  decoration  in 
bronze,  black  and  blue. 
Ch'ien-lung  (i 736-1 795). 

Cup:  Height    iK    inches. 
Saucer:  Diameter  4>^  inches. 


CASE  XLH 

1012.  LARGE  OVOID  JAR  with  bell  cover.  Dec- 
orated with  four  reticulated  vases  holding  peonies, 
chrysanthemums,  prunus,  and  other  flowers  in  brilliant 
colors  on  a  white  ground;  on  shoulder  and  base  are 
broad  foliated  borders  of  deep  rose  with  floral  orna- 
ments; the  cover  is  similarly  decorated,  and  the  lotus- 
bud  top  is  gilt. 

Ch'ien-lung  (1736- 1795).  Height  31    inches. 

1013.  BEAKER  VASE.  Decorated  with  strings  of 
precious  emblems  depending  from  arabesque  borders  in 
vivid  colors  on  a  pale  rose  ground. 

Ch'ien-lung  (i 736-1 795).  Height  i7>^  inches. 

1014.  1015.  TWO  OVOID  JARS  with  bell  covers 
and  retreating  bases.  White  reserves  of  various  shapes 
containing  sprays  of  flowers,  and  rose,  yellow,  blue,  and 

'79 


CASE    XLIl]  THE    MORGAN    COLLECTION 

white  chrysanthemum  flowers,  singly  and  in  pairs,  on  a 

ground  of  pale  rose. 

Ch'ien-lung  (1736-1795).  Height  17^  inches. 

1016,  1017.  TWO  CYLINDRICAL  VASES,  with 
spreading  mouths  and  bases.  Two  foliated  reserves 
containing  sprays  of  flowers  on  a  ground  of  pale  rose; 
above  and  below  are  green  arabesque  borders  with  red 
and  white  lotus  blossoms. 
Ch'ien-lung  (1736-1795).  Height  9^  inches. 

1018.  OVOID  VASE.     Deep  rose. 

Ch'ien-lung  (1736-1795).  Height  15^  inches. 

10 19,  1020.  TWO  BOWLS  on  carved  wood  stands. 
Deep  rose.  Notice  the  "mark"  pencilled  underneath 
in  cobalt  blue,  encircled  by  a  double  ring,  a  group  of 
symbols,  a  pencil  brush  (pi),  an  ingot  (ling),  and  a 
sceptre  (ju-i),  connoting  the  sentence,  rebus  fashion 
"  May  your  wishes  be  fulfilled." 

Ch'ien-lung  (1736-1795).  Diameter  4^^  inches. 

1021,1022.    TWO  BOWLS.     Rose. 
Ch'ien-lung  (1736-1795).  Diameter  7>^  inches. 

1023.  BOWL  on  carved  ebony  stand.     Rose. 
Ch'ien-lung  (1736-1795).  Diameter  5 X  inches. 

1024.  FLUTED  BOWL.  A  fluted  bowl  with  an  in- 
dented rim  covered  outside  with  a  rich  rouge  d'or  glaze 
of  crimson  tone.  It  has  an  imperial  factory  seal  under- 
neath, Ta  Ch'ing  Yung-ch'eng  nien  chih  (1723- 173 5). 

Diameter ']%  inches. 

1025.  1026.  TWO  FIGURES  OF  LADIES,  stand- 
ing, holding  lotus  buds  for  candlesticks.  Dressed  in 
robes  of  dark  and  pale  rose,  pale  blue,  and  sea-green,  em- 

180 


OF   CHINESE    PORCELAINS  [CASE    XLII 

broidered  with  scroll  lotus  leaves  and  flowered  octagon 
and  square  pattern  tricked  with  yellow  and  gold. 
Ch'ien-lung  (1736-1795).  Height  11  finches. 

1027,  1028.    TWO  VESSELS  with  fluted  mouths. 
White  and  yellow  lotus  scrolls  on  deep  rose;  the  inter- 
iors white  with  sprays  of  flowers. 
Ch'ien-lung  (1736-1795). 

Height  3K  inches.     Diameter  5  inches. 

1029.  CUP  with  high  concave  base.     Floral  scrolls 
in  pale  yellow,  deep  green,  and  blue  on  a  light  rose 
ground,    with    two   foliated    reserves    showing   ladies 
seated,  and  boys,  the  interior  robin's-egg  blue. 
Ch'ien-lung  (1736-1795).  Height  3^  inches. 

1030.  LADY,  seated  on  garden-seat.  Dressed  in 
light  rose,  dull  yellow,  and  sea-green  robes  embroidered 
with  lotus,  cranes,  nebulae,  and  geometric  ornament  in 
bright  enamel  colors. 

Ch'ien-lung  (1736-1795).  Height  9X  inches. 

103 1.  HEXAGONAL  VASE  for  fragrant  flowers. 
Six  panels  pierced  to  show  lake  and  mountain  scenes, 
and  painted  in  brilliant  enamels. 

Ch'ien-lung  (1736-1795).  Height  4}i  inches. 

1032.  1033.  TWO  PLATES.  A  central  hexagonal 
star  on  ground  of  blue  Y-pattern  shows  ladies  regard- 
ing two  children  who  play  with  a  pair  of  rabbits;  on 
edge  rose  octagon  and  square  with  four  lotus-leaf  re- 
serves enclosing  golden  lotus  flowers  and  four  circles 
with  scroll  dragons,  the  whole  in  bright  enamel  colors. 
Ch'ien-lung  (1736-1795).  Diameter  8X  inches. 

1034.  PLATE.  In  central  circle  a  lady  seated,  sur- 
rounded by  three  children  at  play;  on  the  floor  are  two 

181 


CASE    XLIl]  THE   MORGAN   COLLECTION 

white  rabbits,  jars,  books,  and  a  table  with  flowers,  etc., 

in  brilHant  colors. 

Ch'ien-lung  (1736-1795).  Diameter  8>i  inches. 

1035,1036.  TWO  PLATES.  In  centre  circle  a  lady 
seated  holding  a  flower  and  conversing  with  two  chil- 
dren; behind  her  on  bamboo  table  is  a  vase  of  red  ling- 
chih,  and  a  golden  lion;  on  edge,  rose  octagon-and- 
square  pattern  with  three  leaf- and  fruit-shaped  re- 
serves enclosing  flowers  and  three  circular  scroll  drag- 
ons in  gold  on  black.  The  whole  in  delicate  colors. 
Ch'ien-lung  (1736-1795).  Diameter  8X  inches. 

1037  to  1042.  SIX  CUPS  AND  SAUCERS.  A 
lady  seated  playing  the  guitar;  beside  her  a  boy  holding 
a  ju-i  sceptre;  near  by  are  palm-trees  and  vases;  with 
borders  of  floral  and  geometric  design  in  brilliant  colors 
and  gold. 
Ch'ien-lung  (1736-1795). 

Cups:  Height  i^  inches. 
Saucers :  Diameter  4)4  inches. 


CASE  XLIII 

1043,  1044-  TWO  CHTEN-LUNG  VASES  of  elab- 
orate design,  decorated  in  enamels  of  the  famille  rose 
class,  and  gilding  with  diapered  frets  and  basketwork 
grounds  of  diverse  pattern,  and  with  formal  scrolls  of 
flowers  and  birds.  Both  have  outer  casings  •to  the 
bodies,  pierced  through  with  four  reticulated  panels  of 
foliated  outline.  In  the  first  the  panels  are  carved  in  a 
plain  hexagonal  network.  In  the  second  one  of  the 
panels  is  fashioned  with  an  archaic  three-clawed  drag- 
on, surrounded  with  the  clouds,  opposite  a  tiger  roar- 
ing from  a  rocky  landscape,  and  the  other  two  panels 

182 


OF    CHINESE    PORCELAINS         [CASE    XLIII 

are   worked   with   openwork   scrolls   of  bamboo   and 

prunus. 

Ch'ien-lung  (1736-1795).  Height  \^}i  inches. 

1045.  OVOID  JAR  with  lion  cover.  On  this  large 
vase  the  four  principal  panels  in  which  sprays  of  flowers 
are  grouped  to  form  the  decoration  are  shaped  in  the  out- 
line of  fruit  and  leaves.  The  two  fruits,  opposite  each 
other,  are  the  pomegranate  and  the  Buddha's  hand 
citron,  the  leaves  are  those  of  the  Ficus  religiosa  and 
the  nelumbium  lotus. 

Ch'ien-lung  (i  736-1 795).  Height  24K  inches. 

1046.  CYLINDRICAL  VASE  with  spreading  mouth 
and  base.  Deep  rose,  with  white,  red,  yellow,  and  blue 
chrysanthemum  flowers  arranged  between  white  re- 
serves of  varied  shapes  containing  cocks  and  peonies, 
sprays  of  flowers,  and  landscapes.  Round  the  lip  is  a 
lozenge  swastika  border  in  black  on  greenish-yellow,  in- 
terrupted by  four  white  oblong  reserves,  defined  by  a 
broad  line  of  cobalt-blue  and  a  broader  one  of  lemon- 
yellow,  enclosing  sprays  of  red  prunus  and  peony. 
Ch'ien-ung  (i 736-1 795).  Height  \-^}4  inches. 

i047toio5i.  GARNITURE  OF  THREE  IN- 
VERTED PEAR-SHAPED,  FLUTED  VASES  with 
caps  and  spreading  bases,  and  TWO  SMALL  BEAK- 
ERS. Covered  with  a  fish-roe  ground,  sprinkled  with 
red  prunus  blossoms  and  flowers  of  the  bamboo,  with 
yellow  and  blue-green  leaves,  interrupted,  on  the  front 
and  back  of  the  pieces,  by  two  upright  oval  foliated 
white  reserves  outlined  in  blue,  showing  a  red  peony 
and  a  branch  of  red  prunus  in  a  black  vase  with  gold 
decoration;  beyond  are  blue  and  white  scrolls  with  gold 
ribbons;  to  the  left  a  gold  ch'i-lin  sits  on  a  green  leaf, 
from  under  which  a  red  ju-i  sceptre  projects;  on  a 
stand,  to  the  right,  is  a  dwarf  pine.    Above  each  cen- 

.83 


CASE    XLIIl]        THE   MORGAN    COLLECTION 

tral  reserve  is  a  blue  reserve  enclosing  a  red  lotus  flower 
with  white  scroll  leaves,  and  below  is  a  lotus  flower  in 
a  blue  semi-circle.  Two  circular  reserves,  similarly 
decorated,  are  on  each  side.  Black  borders  on  pale 
rose  surround  the  base,  neck,  and  rim  of  lid,  which  is 
covered  with  fish-roe  and  flowers,  as  on  the  body,  with 
a  circular  blue  reserve  enclosing  a  red  lotus  flower, 
from  the  centre  of  which  the  white  top,  modelled  as  a 
lotus  bud,  springs. 
Ch'ien-lung  (1736-1795). 

Vases:  Height  \2^  inches. 
Beakers:  Height  io|^  inches. 

1052  to  1057.  GARNITURE  OF  THREE  IN- 
VERTED PEAR-SHAPED  VASES,  AND  THREE 
CYLINDRICAL  VASES  with  spreading  mouths  and 
slightly  spreading  bases.  Pale  rose  with  two  foliated 
white  reserves  enclosing  groups  of  red  peonies  and  yel- 
low chrysanthemums.  On  the  shoulders  and  necks 
arabesque  ornament  in  green,  with  red  lotus  flowers 
above  and  white  ones  below;  on  bases  the  same,  with 
white  lotus  flowers  above  and  prunus  flowers  below,  al- 
ternately red  and  yellow.  On  the  sides  are  yellow  chry- 
santhemum flowers. 
Ch'ien-lung  (1736- 1795). 

Vases:  Height  ii>^  inches. 
Beakers:  Height  9X  inches. 
(plate  lxxvii) 

1058.  PLATE.  White  porcelain.  A  ground  of 
black  octagon-and-square  supports  a  fruit-shaped  white 
reserve  surrounded  by  peony,  chrysanthemum,  prunus, 
and  other  flowers  painted  in  delicate  enamel  colors,  and 
enclosing  two  silver  pheasants  with  blue  crests,  exquis- 
itely drawn  and  etched  in  the  paste.  On  the  edge  floral 
scrolls  in  colors  and  gold. 
Ch'ien-lung  (1736-1795).  Diameter  8^  inches. 

184 


OF    CHINESE    PORCELAINS         [CASE    XLIII 

1059.  PLATE.  With  scalloped  border  outlined  in 
red.  Of  the  nine  intervals  three  are  white  with  sprays 
of  rose-colored  prunus;  the  other  six  have  a  ground  of 
flowered  square-and-octagon  on  white.  A  narrow  bor- 
der of  trellis-work  surrounds  the  white  centre,  in  which 
a  lady  sits  holding  an  orchid  in  her  left  hand.  On  her 
left  are  two  children,  behind  them  a  large  golden  jar; 
between  them  and  the  lady  is  seen  a  vase  of  brilliant 
cobalt-blue  containing  red  peonies.  On  her  right  is  a 
large  covered  jar  decorated  in  blue  on  white,  with  gold 
top  and  handles,  behind  which  is  a  golden  lion  on  a  bam- 
boo stand,  and  a  vase,  the  whole  in  delicate  enamel 
colors. 

Ch'ien-lung  (1736-1795).  Diameter  8>^  inches. 

1060.  PLATE.  With  central  decoration  of  flowers 
and  butterflies  in  delicate  enamel  colors,  encircled  by  a 
narrow  spiral  border  in  gold  on  black,  and  a  wide  border 
of  black  octagon-and-square  pattern  on  rose  du  Barry, 
having  three  white  oblong  reserves,  with  foliated  ends 
defined  in  cobalt  blue,  containing  sprays  of  red  prunus 
and  chrysanthemum.  Centreing  between  these  re- 
serves are  three  circles  with  the  character  Shou  in  deep 
blue  on  white.  The  rose-colored  ground  is  impinged 
upon  at  its  outer  edge  by  a  pale  green,  irregularly  un- 
dulating border. 

Ch'ien-lung  (1736-1795).  Diameter  8K  inches. 

1061 .  1062.  TWO  PLATES.  In  centre,  on  a  ground 
of  black  Y-pattern  on  pale  blue,  a  large  foliated  hexa- 
gonal white  reserve  shows  a  lady  holding  a  ju-i  sceptre, 
seated  in  a  bright  yellow  chair;  before  her  are  four  chil- 
dren; to  her  left  are  porcelain  garden-seats  and  a  large 
bright  blue  vase;  to  her  right,  on  a  blue-topprd  bamboo 
table,  stand  a  peony  in  a  bright  blue  vase,  two  bundles 
of  books,  and  an  incense-burner.  The  inner  border  is  a 
narrow  black  scroll  on  pale  greenish-yellow;  the  outer 

185 


CASE    XLIIl]         THE    MORGAN    COLLECTION 

a  gold-edged  border  of  black  octagon-and-square  on  pale 
pink,  having  three  white  oblong  reserves,  with  foliated 
ends  outlined  in  blue  and  gold,  containing  branches  of 
red  peony,  fruit,  and  yellow  citron  (hand  of  Buddha). 
Ch'ien-lung  (1736-1795).  Diameter  8X  inches. 

1063,  1064.    TWO  CUPS  AND  SAUCERS.     Flow- 
ered octagon-and-square  supporting  hexagonal  foliated 
and  oblong  white  reserves  enclosing  flowers,  fruit,  and 
vases  in  deep  colors. 
Ch'ien-lung  (1736- 1795). 

Cups:  Diameter  2^  inches. 
Saucers:  Diameter  4^4  inches. 

1065.  CUP  AND  SAUCER.  Elaborate  floral  and 
geometric  design  with  central  octagonal  white  reserve 
enclosing  flowers  and  butterflies. 

Ch'ien-lung  (i  736-1 795). 

Cup:  Diameter  2^  inches. 
Saucer:  Diameter  4^  inches. 

1066.  CUP  AND  SAUCER.  Elaborate  floral  de- 
sign with  central  circular  and  three  leaf-shaped  white 
reserves  enclosing  flowers  and  fruit. 

Ch'ien-lung  (1736-1795). 

Cup:  Diameter  2^4  inches. 
Saucer:  Diameter  4K  inches. 

1067.  CUP  AND  SAUCER.  Geometric  design  with 
four  borders  and  a  central  one  enclosing  flowers  and 
fruit. 

Ch'ien-lung  (1736-1795). 

Cup:  Diameter  2 pi  inches. 
Saucer:  Diameter  4^  inches. 

1068.  CUP  AND  SAUCER.    Two  black  and  yellow 


OF    CHINESE    PORCELAINS         [CASE    XLIII 

cocks  in  two  radiating  spaces,  the  rest  peony  scroll-work 
in  delicate  colors  and  gold. 
Ch'ien-lung  (1736-1795). 

Cup:  Diameter  ^%  inches. 
Saucer:  Diameter   5    inches. 


CASE  XLIV 

1069.  OVOID  VASE  with  short  neck  and  spreading 
lip.  The  main  decoration  of  this  vase  is  composed  of 
the  pine,  bamboo,  and  prunus — Read:  Sung  chu  met  (the 
three  floral  friends) — penciled  in  cobalt  blue,  and  sprays 
of  the  same  flowers  appear,  painted  in  green,  in  the 
band  which  decorates  the  interior  of  the  neck. 

Mark:  Ch'eng-hua.     [1465-1487 — apocryphal.] 
K'ang-hsi  (1662-1722).  Height  17  inches. 

1070.  1072.  TWO  OCTAGONAL  BEAKERS  with 
rectilinear  central  band,  wide  mouths  and  spreading 
bases.  Covered  with  ground  of  red  scroll-work  on 
which  red  peony  and  chrysanthemum  blossoms,  with 
bright  green  and  blue  leaves,  are  arranged  between  fol- 
iated sunken  panels  on  the  neck  and  base,  in  white  re- 
serve enclosing,  alternately,  landscapes  and  birds 
among  flowers.  The  central  band  has  leaf-shaped 
white  reserves  containing  flowers  and  landscapes  alter- 
nately. Round  the  lip  and  base,  and  above  and  below 
the  centre  are  gold  scroll  borders  separated  by  a  white 
line  and  a  trellis  border  in  black  on  pink  with  red  plum 
blossoms  at  the  divisions, 

Ch'ien-lung  (1736-1795).  Height  19X  inches. 

1071.  OCTAGONAL  MANDARIN  VASE,  with  pro- 
jecting rim  and  cover  surmounted  by  a  lion.  The 
ground  is  a  red  diaper  on  which  red  peonies,  with  green 
and  greenish-blue  leaves  and  white  plum  blossoms  are 

187 


CASE    XLIV]         THE    MORGAN    COLLECTION 

arranged,  and  is  interrupted  by  eight  vertical  foliated 
white  intagHo  reserves  in  which  are  painted,  alternately, 
landscapes  and  birds  among  flowers  in  brilliant  colors, 
heightened  with  gold.  Reserves,  alternately  leaf-  or 
fruit-shaped,  encircle  the  neck,  which,  with  the  lid,  is 
decorated  like  the  body.  Round  the  lip  of  the  vase, 
and  the  rim  of  the  lid  is  a  key-pattern  in  black  on  blue- 
green;  above  this  on  the  lid  are  black  trellis-work  bor- 
ders on  blue-green  and  on  blue. 
Ch'ien-lung  (i 736-1 795).  Height  26  inches. 

1073.  BOTTLE  with  rudimentary  handles.  A  strik- 
ing articulated  vase  of  the  Ch'ien-lung  period,  moulded 
with  an  outer  casing,  which  is  pierced  with  three  open- 
work panels,  so  that  a  floral  decoration  on  the  central 
cylindrical  core  of  the  vase  may  be  seen  through  the 
piercing.  The  foot,  modelled  as  part  of  the  piece  to 
allow  it  to  revolve,  is  glazed  coral  red  underneath;  it 
has  four  spur  marks,  but  no  seal. 

Ch'ien-lung  (i  736-1 795).  Height  20  inches. 

1074.  OVOID  VASE  with  short  neck  and  spread- 
ing lip.  White  porcelain  decorated  with  sprays  of 
peony,  chrysanthemum,  convolvulus,  magnolia,  and 
other  flowers,  with  butterflies  in  enamel  colors  on  rose 
ground  with  elaborate  scroll-pattern  incised  -in  the 
paste.  There  are  two  large  quadrilateral  white  re- 
serves with  indented  corners.  One  showing  Fu  Hsing, 
the  god  of  happiness,  standing  under  a  dark  green  pine- 
tree,  his  scarlet  robe  embroidered  with  gold  bats  and 
nebulae,  facing  a  boy  who  ofi'ers  him  a  pale  blue  ju-i 
sceptre.  The  other  shows  Shou  Lao,  the  god  of  longev- 
ity, dressed  in  bright  rose  and  dull  green,  with  his  staff" 
and  a  peach,  which  he  ofi'ers  to  a  boy  in  a  green  coat  and 
red  trousers.  He  also  stands  under  a  pine-tree,  and 
a  bridge  is  seen  in  the  distance.  On  the  neck  are  two 
foliated  white  reserves,  one  showing  a  boy  in  blue  and 

188 


OF   CHINESE    PORCELAINS  [CASE    XLIV 

red  costume  on  a  hillside,  his  hand  extended;  the  other 
a  figure  seated,  with  a  fence  in  the  distance. 
Ch'ien-lung  (1736-1795).  Height  14^^  inches. 

1075,  1076.  TWO  OVIFORM  VASES.  Decorated 
with  chrysanthemums  tinted  in  enamel  colors  with 
cobalt-blue,  lemon-yellow,  and  rose,  with  dark  and 
yellow-green  leaves  in  reserve  on  a  ground  of  rose-pink 
with  elaborate  scroll-pattern  incised  in  the  paste.  The 
neck  has  an  elaborate  border  of  alternate  red  and  white 
and  blue  supporting  red  and  white  chrysanthemum 
blooms,  with  blue-green  scroll  leaves  on  the  pink  in- 
cised ground.  At  the  base  is  a  broad  cartouche  border 
of  pale  blue  with  suspended  sounding-stones  of  brilliant 
blue,  blue-green  ju-i  heads,  and  red  tassels  on  a  lemon- 
yellow  ground. 
Ch'ien-lung  (1736-1795).  Height  15  inches. 

1077.  CYLINDRICAL  VASE  with  trumpet  mouth. 
Having  sixteen  vertical  convex  divisions  of  cobalt-blue, 
rose  and  pale  blue  covered  with  alternating  scroll-work 
rice  pattern,  flowered  lozenge-work,  and  plum  blossoms 
on  cracked  ice,  interrupted  by  two  large,  gold-bordered 
leaf-shaped  reserves  in  white,  one  showing  a  lady  in 
green,  yellow,  and  rose  costume  with  a  blue  sash,  stand- 
ing by  a  bench  on  which  sits  another  lady,  in  blue  and 
yellow;  both  are  regarding  a  third  in  pale  green  and  yel- 
low, who  sits  in  the  foreground  on  a  blue  and  yellow 
garden-seat,  holding  a  yellow  pomegranate  (emblem  of 
luck)  in  her  left  hand.  In  the  other  reserve  is  a  girl  in 
blue  and  crimson,  offering  a  peony  in  a  bright  yellow 
vase  to  two  ladies  in  crimson  and  green,  leaning  on  pale 
green  rocks  touched  with  blue,  behind  which,  and  in 
the  foreground,  are  peonies  and  a  fence,  as  in  the  first 
reserve. 
Ch'ien-lung  (1736-1795).  Height  16  inches. 

189 


CASE    XLIV]         THE    MORGAN   COLLECTION 

1078.  HEXAGONAL  PEAR-SHAPED  WINE-JUG 
with  lion  lid  and  pyramidal  base.     White  porcelain. 
Rich  decoration  in  opaque  enamels  surrounding  medal- 
lions modelled  with  Shou  characters  in  relief. 
Ch'ien-lung  (1736-1795).  Height  i6>^  inches. 

1079,  J 080.    TWO   WINE-POTS   in   the   shape  of 
cocks.     Richly  decorated  in  opaque  enamels. 
Ch'ien-lung  (1736-1795).  Height  6K  inches. 

1081,  1082.  TWO  CUPS  AND  SAUCERS.  The 
cups  with  broad  bands  of  pierced  hexagon-work 
(white  on  one,  on  the  other  yellow),  interrupted  by 
three  rose-colored  circles  pierced  in  double  rows  of  radia- 
ting lines  (red  on  one,  on  the  other  blue),  with  yellow 
open  diamond  centres.  Inside  the  cups  are  three  sprays 
of  red  plum  on  the  sides  and  one  in  the  bottom.  The 
saucers  have  bands  of  pierced  hexagon-work  outside, 
interrupted  by  three  semicircles,  as  in  the  cups. 
Ch'ien-lung  (1736-1795). 

Cups:  Height  3  inches.     Diameter  3 >^  inches. 
Saucers:  Diameter  5X  inches. 

1083,  1084.  TWO  BOTTLES  with  convex  collars 
and  spreading  lips.  Cafe-au-lait  body  with  foliated 
circular  reserves,  with  rose  peonies  and  other  flowers  in 
brilliant  enamel  colors.  On  shoulder  a  border  divided 
into  eight  sections,  each  with  a  plum  flower  on  red 
trellis  ground  or  semi-blossoms  on  white  alternately. 
The  collar  is  decorated  with  half  prunus  flowers  of  deep 
cobalt  with  rose-red  centres,  alternating  with  smaller 
ones  of  rose-red  with  scroll  leaves.  Above  and  below 
are  white  intervals  and  borders  of  lotus  petals  of  deep 
green. 
Ch'ien-lung  (1736-1795).  Height  9  inches. 

1085.    PILGRIM   BOTTLE.    The  body  and  neck 
covered  with  chrysanthemums  modelled  in  low  relief 

190 


OF    CHINESE    PORCELAINS         [CASE    XLIV 

in  white,  leaving  a  large  circular  reserve  on  each  side; 
in  one  of  which  two  cocks  in  brilliant  red,  yellow,  blue, 
green,  and  black  with  gold  combs  and  wattles  sit  on  a 
fence  with  a  background  of  red  peonies,  chrysanthe- 
mums and  other  brilliant  flowers;  in  the  other  a  pheas- 
ant in  brilliant  colors  and  gold  stands  on  a  blue  rock 
behind  which  spring  red  peonies  and  red  and  white 
plum.  The  top  is  formed  as  a  green  lotus  bud  centred 
in  two  circles  of  red  lotus  petals. 
Ch'ien-lung  (1736-1795). 

Height  7K  inches.   Diameter  5  inches. 

1086,  1087.  TWO  CUPS  AND  SAUCERS.  Each 
divided  into  eight  waved  sections  of  Y-pattern  on  pale 
purple,  buff,  lilac,  white,  pink,  pale  green,  salmon-pink, 
and  cucumber-green,  with  sprays  of  white  magnolia 
and  red  peony.  In  the  centre  are  eight  conventional 
lotus  petals  enclosed  in  a  gold  ring. 
Ch'ien-lung  (i 736-1795). 

Cups:  Height  i}4  inches. 
Saucers:  Diameter 4>^  inches. 

1088  to  1091.  FOUR  CUPS  AND  SAUCERS.  In 
the  centre  of  the  saucers,  on  an  elaborate  floral  ground, 
in  green  and  gold,  is  a  hexagonal  foliated  white  reserve 
with  fleurs-de-lys  at  corners,  outlined  in  deep  purple, 
enclosing  sprays  of  red  prunus  and  yellow  citron 
(hand  of  Buddha),  over  which  hovers  a  butterfly. 
Arranged  around  this  are  three  foliated  white  reserves 
with  pomegranate  and  hand  of  Buddha;  alternating 
with  these  are  three  circular  white  reserves  with  peonies 
and  leaves  in  cobalt-blue.  The  cups  are  decorated 
outside  with  three  circular  and  three  foliated  reserves, 
with  flowers  as  on  the  saucers.  The  interior  of  the 
cups  and  the  backs  of  the  saucers  are  ruby-colored. 
Ch'ien-lung  (1736- 1795). 

Cups:  Height  i^  inches. 
Saucers:  Diameter  4)4  inches. 

191 


CASE    XLIV]         THE    MORGAN    COLLECTION 

1092.  PLATE.  Two  butterflies  hover  over  clusters 
of  rose  peonies,  yellow  chrysanthemums,  blue  iris,  red 
prunus,  and  other  brilliant  flowers  in  the  white  centre, 
which  is  outlined  in  black  and  circled  by  a  border  of 
black  trellis-work  on  pink.  On  the  edge  is  a  broad 
border  of  gold  chrysanthemums  and  peonies  on  a 
ground  of  lapis-lazuli  blue,  with  an  outer  scroll  border 
in  black  on  pale  yellow,  separated  by  a  black  line  from 
the  white  rim  of  the  plate. 

Ch'ien-lung  (1736-1795).  Diameter  8X  inches. 

1093,  1094.  TWO  PLATES.  On  a  ground  of  flow- 
ered octagon-and-square,  red  peony  and  chrysanthe- 
mum and  yellowish-white  asters,  with  leaves  ranging 
from  yellow  to  blue-green,  surround  a  citron-shaped 
white  central  reserve,  in  which  a  greenish-yellow  and 
black  cock  looks  down  from  a  blue  rock  upon  another 
on  the  ground  below.  The  border  is  black-flowered, 
octagon-and-square  under  deep  rose,  with  an  outer 
border  of  black  trellis-pattern  on  pale  greenish-blue 
interrupted  by  three  white  reserves  containing  sprays 
of  flowers. 

Ch'ien-lung  (1736-1795).  Diameter  8>^  inches. 

1095.  PLATE.  The  centre  is  gold,  sprinkled  with 
blossoms  and  leaves  in  rich  enamel  colors,  with  a  leaf- 
shaped  white  reserve  in  which  sits  a  lady  dressed  in 
pink,  white,  pale  yellow,  and  black;  on  her  left  a  boy 
in  pale  cobalt-blue  stands  on  a  seat,  holding  a  gold  ju-i 
sceptre.  Another  boy  in  pink  peeps  from  behind  her 
at  her  right.  On  her  left,  in  the  foreground,  a  rose- 
colored  chair  is  partly  seen,  and  a  jardiniere  with  yellow 
interior  and  gold  handles,  beyond  which  a  gold  ju-i 
sceptre  stands  in  a  large  blue  vase  with  white  scroll 
decoration  and  lion's-head  handles.  The  outside  bor- 
der is  a  black  scroll  on  pale  green. 
Ch'ien-lung  (1736-1795).  Diameter  8  inches. 

192 


OF    CHINESE    PORCELAINS         [CASE    XLIV 

1096.  PLATE.  In  the  centre  a  black  and  yellow 
cock  with  pink  comb  and  wattles  stands  on  the  ground 
by  a  pink  peony,  and  looks  backward  at  his  fellow 
perched  on  a  rock  of  bright  cobalt-blue  from  behind 
which  spring  pink  and  white  peonies  with  bluish-green 
leaves  and  yellow  and  purple  asters.  The  border  is 
flowered  octagon-and-square  in  black  on  pale  blue 
ground  interrupted  by  three  white  oblong  reserves  with 
foliated  ends  containing  sprays  of  red  peony  and  chry- 
santhemum. 
Ch'ien-lung  (1736-1795).  Diameter   8>^    inches. 

1097  to  1 102.  SIX  CUPS  AND  SAUCERS.  On 
outer  rim  of  cups  is  black  Y-pattern,  leaving  a  white 
undulous  foliated  border  to  the  space  below,  where  a 
black  and  yellow  cock  with  rose-red  comb  and  wattles 
stoops  threateningly  from  a  low  blue  rock  toward  an- 
other who  sits  on  the  ground  looking  backward  at  him. 
Red  peonies  and  purple  and  yellow  asters  form  the 
background  of  the  picture. 

The  saucers  have  the  same  motive  in  a  hexagonal 
foliated  undulous  reserve  in  white  on  a  ground  of  black 
Y-pattern,  encircled  by  a  border  of  black  octagon-and- 
square  on  pink,  interrupted  by  white  reserves,  as  in- 
side the  cups. 
Ch'ien-lung  (i 736-1 795). 

Cups:  Height    i^   inches. 
Saucers:  Diameter  5  inches. 


CASE  XLIV— SECTION  B 

1 103,  1 1 04.    TWO  PLATES.    A  central  white  open 
scroll  and  four  oblong  reserves  with  isolated  blossoms 
on  a  dark  purple  ground. 
Ch'ien-lung  (1736-1795).  Diameter  8X  inches. 

193 


CASE  XLIV-b]     the    MORGAN    COLLECTION 

1 105,  1 106,    TWO  OCTAGONAL  PLATES.   Ladies 
and  children  in  central  circle,  and  eight  oblong  reserves 
on  deep  rose. 
Ch'ien-lung  (i  736-1 795).  Diameter  8)4  inches. 

1 107.  TALL  OVOID  VASE  with  short  neck  and 
spreading  lip.  Peony  incised  in  the  paste  under  a 
glaze  of  rich  purplish-blue. 

Ch'ien-lung  (i  736-1 795).  Height  26  inches. 

1 108.  PLATE.  A  lady  equestrian  attended  by  a 
bearded  man  who  leads  her  horse  and  a  boy  who  fol- 
lows carrying  a  branch  of  prunus.  On  the  edge,  sprays 
of  flowers  in  gold  and  deep  green. 

Ch'ien-lung  (1736-1795).  Diameter  8>^  inches. 

1 109.  PI  T'UNG,  or  brush  receptacle.  Beautifully 
modelled  in  the  forms  of  bamboo,  prunus,  and  pine — 
'the  three  friends' — and  invested  with  a  glaze  of  pur- 
plish-blue. 

Ch'ien-lung  (1736- 1795). 

Diameter  6^  inches. 
Height  6K  inches. 

1 1 10.  OVOID  VASE.  The  flower  which  is  asso- 
ciated with  the  peony  in  the  graceful  floral  decoration 
of  this  vase  is  the  double  peach — the  prunus  blossom- 
ing sprays  are  always  leafless  in  Chinese  art — the  birds 
are  the  white-headed  finches  known  as  pat  t'ou  weng. 
There  was  originally  a  "mark"  underneath,  which  has 
been  ground  away. 

Ch'ien-lung  (1736-1795).  Height  16^  inches. 

nil.  CUP  AND  SAUCER.  Similar  to  No.  1068. 
Ch'ien-lung  (1736-1795). 

194 


OF    CHINESE    PORCELAINS     [CASE    XLIV-B 

11 12.  PLATE.    White   porcelain.     In   centre  and 
on  edge  are  men  wading,  and  in  boats  fishing. 
Ch'ien-lung  (1736-1795).  Diameter  Sys  inches. 

1 1 13.  PLATE.     White  porcelain.     In   the  central 
circle  an  open  scroll  shows  a  bird  on  a  branch  of  red 
peony.    On  the  edge  a  border  of  purple-blue  cracked- 
ice  pattern  supports  isolated  white  prunus  blossoms. 
Ch'ien-lung  (1736-1795).  Diameter  7^  inches. 


1 1 14,  1 1 1 5.  TWO  LARGE  FISH-BOWLS  (at  either 
end  of  the  gallery.)  On  one,  aquatic  plants  on  a  dark, 
aubergine  ground;  on  the  other,  imperial  five-clawed 
dragons  in  yellow  on  a  creamy  ground. 
Chia-ching  (i  522-1 566).  Diameter  40  inches. 


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